The Connoisseur
An Illustrated Magazine
For Collectors
Edited by J. T. Herbert Baily
Vol. XXV.
SEPTEMBER DECEMBER, 1909)
LONDON
Published by OTTO LIMITED, Carmelite House, Carmeliti Streki I <
rial anl. Advertisemen r Ofkices : 95, Tempi e ( i- vmbers, Tempi e Avenue, London, K ' :
PRINTED BY
IEMROSB AM) SONS LTD..
DERBY AND LONDON
tyntstTY
NDEX
Articles and Notes. p- ;
Armourers of Italy, The. Parts I. and II. By
Charles ffoulkes 28,
Black Basaltes Ware, The Evolution of. By
E. N. Scott
Cambridge College Bookplates. By F. W. Burgess
Carfrae Alston Collection at the Royal Glasgow
Institute of Fine Arts. By Percy Bate . .
Caricaturist of the Thirties—" IB." The. By
Egan Mew
China Village. A Little. By Gertrude Crowe
Dolls, Old. By Mrs. F. Nevill Jackson
Door-knockers, Some Artistic. By H. B. Wester-
ham
Earrings, A Collection of. By Mrs. Herbert Ben-
nett
French Illustrated Books. By J. H. Slater
Pastelhsts. Some. By L. Lewis Hind ..
German Emperor's Collection of Pictures. By
J. Kirby Grant
Knitting Implements of Cumberland and West-
moreland. By J. C. Varty-Smith
Lacquer. Old. Part I. Applied to Eighteenth
Century French Furniture. By Egan Mew
" Lesser George." By Guy Francis Laking
Mahogany, The Years of. Part VIII. By Hal-
dane Macfall
Mediaeval Ivories in the Liverpool Museum. By
P. Nelson, M.D
Miniatures, Some Recently Discovered, by Robert-
son. Plimer. Cosway, Engleheart. and
Smart. By Dudley Heath
Montgolfiers, The. By Mrs. F. Nevill Jackson . .
Portsmouth, The Town of. By Leonard Wil-
loughby
Pratt Ware. By G. Woolliscroft Rhead
Silhouettes, Mr. Francis Wellesley's Collection.
By Wevmer Jay Mills
Snuff-boxes, Some Royal. By W. B. Boulton . .
Stoner George. Collection of Figures and Groups
by the Ralph Woods of Staffordshire :
Part I. By Frank Falkner
Surrey Manor House. A. Part I. By Leonard
' Willoughby
Walton, Henry, Artist. By Edmu
F.S.A
Wantage's. Lady, Collection of Pi<
Lady Victoria Manners
Notes.
Avebury Font
Balloon Plate, A. By A. II.
Bow China
Chair, Van Riebeck's
Chimu Pottery, A Collection of
Colour Plates, Notes on
Diamond Earrings. By E. A. Jones
Farr
183
-I'
Articles and Notes — Notes — continued. page
"Duchessof Milan," by Holbein 248
Gosshawk, Portrait of a. By W. H. Patterson . . 24S
Goya Portrait, A I2 5
Hamilton, Lady, by Romney. By Katharine
Esdaile
Hatchards' Bookshop
Jewellery, Old Italian. By E. N.J
Lace, A Remarkable Piece of. By Mrs. F. N.
Jackson
Lambeth Delft Plate, " Charles II." By A. H.
Lectern in the Church of SS. Giovanni e Paolo.
By J. Tavenor-Perry I2 4
Lowestoft Mug I22
Majolica Relief '9 1
Napoleon at St. Helena ' 86
Napoleonic Snuff-box . . • • • • • • 47
National Gallery, A New Purchase. " April
Love" 46
Notes and Queries 55> Ito - l8 °' 2 4 6
Reliquary. A French. By J. Tavenor-Perry .. 124
Russell. John, R.A. Loan Collection at the Graves
Galleries 2 5 2
Russian Dinner Service, A Remarkable Historic
189-190
Shepherd Bros.' Exhibition 255
Wedgwood Exhibition. The. By A. H 254
Jug. A Rare. By A. H 251
Wine Glasses, Old English. By Herbert W. L.
Way l8 7
Authors.
Bate, Percv. The Carfrae Alston Collection . . 87
Bennett, Mrs. Herbert. A Collection of Earrings 20
Boulton, W. B. Some Royal Snuff-boxes .. 93
Burgess Fred. W. Cambridge College Book-
plates J 7-
Churcher, Walter. Pewter Marks and Old Pewter
Ware (A Review) 4 s
Crowe, Gertrude. A Little China Village. . .. 235
Esdaile, Katharine. Portrait of Lady Hamilton,
by Romney .. .. .. •• ..183
Falkner, Frank. The George Stoner Collection of
Figures and Groups by the Ralph Woods of
Staffordshire. Part I. . . . . 1 59
Farrer, Edmund, F.S.A. Henry Walton, Artist.. 130
ffoulkes, Charles. The Armourers of Italy.
Parts I. and IT. .. .. •• 28, 167
Grant J. Kirby. The Collection of Pictures of
1 lis Imperial Majesty the German Emperor 3
H., A.
Balloon Plate, A l 2 3
Lambeth Delft Plate, A 46
Wedgwood Exhibition, The 254
Jug, A Rare 251
Index
Authors — continued. page
Heath, Dudley. Some Recently Discovered Minia-
tures .. .. .. .. •• •■ 2 5
Hind, L. Lewis. Some French Pastellists .. 242
Jackson, Mrs. F. Nevill.
I 1 . \ ] .' . . ; ! ' ■ I ' 1 . . ■ • ■ ■ 1 - I
Mi. iii •■ ill" 11 -. The . . . . . . • • • • '5
Old Dolls 23>
Old Italian Jewellery 185
[ona 1 Vlfri 1 Dial 1 Earrings . , 122
Laking, Guy Francis. 1 ■ "•• • • 237
H ildane.
Decoration and Furniture of English
ons during the Seventeenth and
Eighteenth Centui ie \ Ri 1 iew I .. 96
The Years of Mahogany. Part VIII 149
\ , tori -. Lad) Wantage's Collec-
tion " '95
Mew 1
Old Lacquei applied to Eighteenth Century
Furniture . . . . ■ ■
The Caricaturist of the Thirties— "JHB'' •• 101
Mills Weymei |ay. Mr. Francis Wellesley's Col-
lection <it Silhouettes . . • . • ■ - ' 5
Nelson, Philip M.I). Tin- Mediaeval Ivories in the
1 iverpi mi Museum . . . . • • • • 106
Patterson, W. H. Portrait of a Gosshawk .. 248
Rhead, G. Woolliscroft. Pratt Ware .. .. 35
■VI il Paper Marks .. 49
: 1 \\. 1 he P11 tin" Sales of 1909 .. .. 113
1 S. How to Appreciate Prints. (A Review) 49
.,,,, 1 \. l!i- 1 volution of Black Basaltes
Ware ■• 79
Slater, J. Herbert.
Honk Sales of 1909 119
Frem h [llu trated Books . . . . . . 175
1 "\ ' Perry, J
1 1 1 . 1,1 n ol ss. i Giovanni e Paolo, Venn e . . 1 J,)
French Reliquary, A .. .. .. ..124
ie Knitting Implements
of Cumberland and Westmoreland . . . . 42
i 1 lid I ngli h Wine Classes .. 1S7
: am, II. B. Some Artistic Door-knot ki 1
onard.
Ho . . . . . . 67
The Town nt Porl mouth . . .. . . . . 131
OTES Cl ASSI1 MO.
1 1 odenl 64, 1 -•■-
(Hi ral Iii 1 XVIII. Sept-
■ i, tobei \W 1. November
XXXVI. December
Vrmour.
Parts I. and II. 28, 167
1 ollege [72
- ■
hi..
■ ■■■ 11 on. By I )r. 1 iiieme . . . . 250
? 2
Eden 253
• ■ 253
.. 19'
■ 1
during the . nth
96
174
Books — Articles and Reviews continued. 1
French Pastellists of the Eighteenth Century.
By Ilaldane Macfall..
How to Appreciate Prints. By Frank Weitcn-
kampt
"I.acis." By Carita
Les Primitifs Flamands : Vol. II. By Fierens
Gevaert
M.li 1 val Paper Marks. By Harold Bayley
Memorial Rings. By F. A. Crisp
" National Gallery, The." By P. G. Konody,
M. W. Brockwell, and F. W. Lippmann
Pewter Marks and Old Pewter Ware. Bv
Christopher A. Markham
Romance ol Fra Filippo Lippi, The. By A. J.
Anderson
St. France in Italian Legend and Art. By Arnold
Gofiin
School of Madrid, The. Bv A. de Beruete y
Moret
Stuart Book of Psalms, A . .
World's Great Pictures, The
249
49
126
252
48
China (see nude) heading — Pottery, Porcelain, an
China).
Collect ions.
Carfrae Alston Collection, The
German Emperor's Collection of Pictures
Portsmouth, The Town of
Russell, John, R.A. Loan Collection at the
Graves Galleries
Silhouettes, Mr. Francis Wellesley's Collection of . .
Surrey Manor House. A
Wantage's, Lady, Collection of Pictures
Dolls, Old
Door-knockers
Some Artistic.
23'
223
Engravings and Prints.
Caricaturist of the Thirties—" HB "
Enchanted Island, The. By G. H. Phillips, after
F. Danby
How to Appreciate Prints. (A Review)
Mezzotint 111 Colour. A New. By A. J. Skrimshire,
after Gainsborough
Napoleon at St. Helena
Furniture.
D ration and Furniture of English Mansions
liming the Seventeenth ami Eighteenth
Centuries." By Francis Lenygon. (A
Review)
French Reliquary, A . .
I ai quel 1 ild applied to Eighteenth Century
French Furniture
Mahogany 1 Veai oi Part \ III. The Rise
it the 1 hippendales, 1730-40
Wllle (.Iii 01
iwl A
K . 11 1« Miili.i \ .1! in the Liverpool Mi
1 arring \ 1 ollei tion oi Diamond..
Italian [1 ivellei 5 . ( >M
M I"- Carter
Memorial Ring B) F.A.Crisp. \ Review)
Index
I. aii: and Embroidery.
"Lacis." ByCarita. (A Review)
Remarkable Piece of Lace, A
Lei tern m Church of SS. Giovanni e Paolo, Venice.,
.Miniatures.
Some Recently Discovered Miniatures by Robert-
son. Plimer, Cosway, Engleheart, and
Smart . .
Montgolfiers. The
Paper Marks. Mediaeval. (A Review)
Pewter Marks and Old Pewter Ware.
Pictures.
" April Love." At National Caller;
Carfrae Alston Collection at Glasgow
French Pastellists, Some
German Emperor's Collection
Goya Portrait, A
Hamilton, Lady, by Romney, A
Portrait of
Holbein's " Duchess of Milan "
School of Madrid , The. (A Review)
Shepherd Bros.' Exhibition..
Note on tli
Pictures — continued.
Walton, Henry, Artist 139
Wantage's. Lady. Collection of Pictures . . . . 195
Plated Ware (see under heading Gold, Silver,
and Plated Ware).
Pottery, Porcelain, and China.
Black Basaltes Ware, The Evolution of ..
Bow^ China 186
Bristol Delft Plate 123
Chimu Pottery, A Collection of .. .. .. 125
China Village, A Little 235
Lambeth Delft Plate, A Charles II i<
Lowestoft Mug . . . . . . . . .122
Majolica Relief .. .. .. .. ..191
Pratt Wan 35
Russian Dinner Service, A Remarkable Historic 1S9, 190
Wedgwood Exhibition, The 254
Jug. A Rare 251
\\ Is, Ralph. The George Stoner Collection of
Figures and Groups. Parti. .. .. 159
Relics.
Snuff-box, Napoleonic . . . . . . . . 47
Snuff-boxes, Some Royal . . . . . . . . 93
Sculpture.
Avebury Font . . . . . . . . . . 52
Silhouettes, Mr. Francis Wellesley's Collection of . . 215
ILLUSTRATIONS
Armour and Arms.
Armourers of Italy, The.
Sword, An
lque
Artists and Engravers.
Blommers, B. J. The Milkmaid : Morning Call .
Bosboom, Johannes. Church Interior
Both. Jan. Italian Landscape
Boucher, Francois. Study of a Head
Cameron, D. Y. Fairy Lilian
Conti, B. de. Fra Sisto Delia Rovere
Coques, G. Charles I. and Henrietta Maria, afti
Van Dyck .. .. '
Cosway, R. Mrs. Fllhott
Cranach, Lucas.
The Baptism of Christ
The Judgment of Paris
Danby, F. The Enchanted Island. By G. F
Phillips
Demarteau. Le Faucon. Alter Huet (?)
Engleheart, G.
Col. Elliott
Portrait of a Gentleman
I aber. Charles 11., after Lely
Francken, Franz. Adoration of the Shepherds .
Goya. Duchess Alvarez de Toledo and Daughter
Harris. Race for the Great St. Leger Stakes
1836. After Pollard
Hobbema, M. The Waterfall
Artists and Engravers — continued.
Holbein. Henry VIII. Panel Portrait .. .. 74
Hondecoeter, M. de. Peacock, Peahen, and Birds 200
Hoogh, P. de. Courtyard of an Inn . . . . 195
Hoppner, John. Lady Langham. By C. Wilkin
Frontispiece — / V, cml'ci
Huet (?), Le Faucon. By Demarteau .. .. 213
Hughes, Arthur. " April Love " .. .. .. 46
Keyser, T. de. Man on Horseback . . . . 17
Lancret, N. Blind-Man's Buff 6
Largillierc. " Cardinal York."' By A. J. Skrim-
shire . . . . . . . . . . . . 227
Le Brun, Madame \ igee.
Louise Marie Adelaide de Bourbon, Duchesse
•in. leans a
Marie Antoinette
■lv. Sir P.
Barbara. Counter ( astlem.n
Pl('v llttlil.'ll /'/,(.', - I 1
Frontispiece — November
Charles 11.
Maris, James.
Matsys, Quen
I'.v Fabei
Glow
A Quiet Berth : Mor:
1. Head of Christ
Presentation Plate
Mauve, Anton. The Herdwife
Murillo, B. E. Virgin and Child ..
Menageot, A. A Prospect oi Portsmouth.
G. Scotin
Nattier J. M.
Marie Leczinska, Queen of France
1 ' 1 almont
. . So
Index
Artists and Engravers— continnra.
Nocret. Jean. Louise Francoise de la Batime le
Blanc, Duchesse de la Valhere
Presentation Plate— November
, J. Charles. Marquess Cornwallis, K.G.
\tt, i ii. Walton ■• ■• •• •■ '43
,.,,1. \ ran. Still Life : BackCourtofa House 198
J. van. A Country Inn 2 °5
1 b. lit. < hampetre •• •• ■• 7
Pember R Landscape .. •■ .... "2
\. Frederick the Great and his Sister
Wilhelmine .. •• •• •• •■ 9
PhilUps G. H. The I n an1 I I land. Alter
Danby .. ■■ * 49
Plimer, A. Edward Woodville Rickctts . . ■• 26
Pollard. J as.
Newmarkel Races Prescntati
r , E01 tl 1 Greal St. 1 egei 51 I ,:
.
D Ii, ii JohnTait. By Vndrev, Roberl
son
Ramsay, Allan. Mrs. Ramsay
Rembi ndt Port i am Ud Lady
Sir J.
Hoare and Child Presentation Plat, Sept,
: COUnt Mtlinrpf . .
Rizi, Juan.
t, d to.] Portrait ot a Bo
n Plate — December
53
--,<<
All.
Vftei
,„.,!, Ri hi . . . ■ • • • • 5 1
Andrew. John Tait. Aftei Sir H.
R burn .. •• 2 S
i , an , 1 ,i..ii.l R01 1 ■ 1 mdscap
\ p r0 p , 1 , ,,i Portsmoi
hi
\ |. 1 ardinal York.
22y
Smart. J. Portrait "I a Lady 2 7
Smith, |. R. I 1 "- I ruit Barrow. Utei H. Walton i 59
.1 I n l-.M'Htl. Night '97
, .,,, | m 1 in the Uert I ad Cubs .. 91
,i , ngl LaFemmeJ douse.. 204
I ■ ; 1 i Frederii ka Sophie
Imina 8 3
[Toy, J. 1 ' D ! , """ olLove -- ■ ■ 8
Van de Vel ' ' " kin - 2( ' 2
1 ,,,i! ii. urn m 1 Mari 1 By G. O ques 1 m
1 I
.. 143
Edward ]
I ■ I, on . .
1
. .
'l
Girl
1
..
zi
.. 157
I
PAGE
Bookplates, Cambridge College .. •■ 172-3
Books, French Illustrated. (Five illustrations) . .
174-179
Frontispiece to " The Triumphs of Temper " and
•' Serena in the Boat of Apathy " . . 183. 184
Dolls, Old. (Ten specimens) ..
Door-knockers. Some Artistic. (T\
223-229
Engravings, Etchings and Prints.
" Cardinal York." By Alfred J. Skrimshire
After LargiHiere
Caricaturist of the Thirties—" H6." The. Ilivi
sketches) '
Charles I. and Henrietta Maria. By G. Coques
After Van Dyck
II. By Faber. After Lely .. •• 133
Marquess Cornwallis, K.G. By J. 1 Igborne.
After H. Walton M3
Enchanted Islam], The. By G. H. Phillips. After
I Danbv J 4 tJ
Fruit Barrow The. Bv J. R. Smith. After II.
Walton .." '39
I ady Langham. Bv C. Wilkin. After Hoppner
Frontispiece — December
Bv Demarteau. After Huet (?) .. 213
131
Le Faucon.
Napoleon at St. Helena • '< So
Newmarket Races. By James Pollard
Presentation Plate — December
Portsmouth, A Prospect of. By G. Scotin. After
A. Menageot . . . . . ■ • • . . 132
Race E01 the Great St. Leger Stake,, 1 s s 6. By
Harris. After Pollard 53
Silver Age, The. By J. R. Smith. After II. Wal-
ton .. '4'
Young Maid. The, and the Old Sailor. I'.s J.
'Walker and Bartolozzi. After 11. Walton [46
Fans IMontgolners) .. .. .. ■■ •• '9
Furniture.
Cabinet, Black and Gold Lacquer, at Sutton Placi
Chair, Van Riebeck's (Dutch) 19"
CI, .ins Various (1720-1735). (Mahogany anil
Walnut) 151-156
M 1 Panelled Room, Early Georgian, at
HattonGarden 148
Girandole, Carved Wood, with Gesso Enrichment 97
1 ,,.|iiei. Old: applied to Eighteenth Centuiv
French Furniture. (Seven examples) 206-212
Press, Carved < >ak al Sutton Pla< e .. ..77
Settee Walnut (1720) . . . . . . ..150
Mahogany Chippendale (1735) .. ■• '54
1 m. m, 1 arved Wood. Gilt, and Marble Too en-
closed in ( hased Brass Frame . . 96
with Gesso Enrichment . . • • • • "-»'
\\ ilnm (1720) 149
English
I
minis)
187, 188
.. 248
I •.1,1. 1.. I
M.-lia-val, in
samples)
the Liver] 1 Mi
Index
PAGE
Jewels.
Earrings. (Various Specimens) . . . . 20-24
Diamond .. .. .. .. .. 123
Italian Jewellery, Old. (Six examples) .. .. 185
" Lesser George " of the Order of the Garter 237-240
Knitting Implements. (Various specimens)
41-44
Lace and Embroidery.
A Remarkable Piece . . . . . . . . ..12
Creation, The . . .. .. .. .. ..12
Lectern in Church ol SS. Giovanni e Paolo, Venice 1 -
Marriage Certificate (Copy) of Charles II 15
Miniatures.
Elliott, Colonel. By G. Engleheart .. .. :
,, Mrs. By R. Cosway :
Henry VIII. After Holbein ;
Portrait of a Gentleman. By G. Engleheart
,, Lady. By J. Smart.. .. .. :
Queen Elizabeth. After Zucchero. . ., ;
Ricketts, Edward W. By A. Plimer . . . . :
Tait, John. By Andrew Robertson. After Sir
Henry Raeburn . . . . . . . • '■
Pewter Spoon Rack, Eighteenth Century . . . . <
Pictures and Drawings.
Barn Girl, The. By H. Walton 1.
Bridgman, Edward, Senior and Junior. By H.
Walton 1 .
Calm, A : Soldiers Embarking. By W. Van de
Velde
Church Interior. By Johannes Bosboom . .
Country Inn, A. By Isaak van Ostade ..
Courtyard of an Inn. By Pieter de Hoogh
Dance, The. By Ant. Watteau
Declaration of Love, The. By J. F. de Troy
Don Tiburcio de Redin. ByJuanRizi ..
Duchess Alvarez de Toledo and Daughter. Bv
Goya
Fairy Lilian. By D. Y. Cameron
Fete Champetre. By J. B. Pater
Fra Sisto Delia Rovere. By Benardino de Conti
Frederick the Great and his Sister Wilhelmine.
By Ant. Pesne
Gibbon, Edward. By H. Walton
Grand Rocky Landscape. By Jacob van Ruysdael
Head of Christ. By Quentin Matsys
Presentation Plate — Dect
Herd wife. The. By Anton Mauve
Italian Landscape. By Jan Both
Judgment of Paris, The. By L. Cranach
La Femme Jalouse. By D. Temers. jun.
Landscape. By R. Pembery
Milkmaid. The : Morning Call. By B. J. Blom-
mers
On the Alert: Lioness and Cubs. By J. M. Swan
Peacock, Peahen, and Birds. By Melchior de Hon-
decoeter
Petty, Lord Henry, 3rd Marquess of Lansdowne.
By H. Walton
Portrait of a Boy. Attributed to Juan Kizi
an Old Lady. By Rembrandt
Princesse Talmont. By J. M. Nattier
River Waveney, near Beccles. By H. Walton ..
11. 1 1 1
89
Kir,
PAGE
Pictures and Drawings — continued.
Still Life : Back Court of a House. By A. Van
Ostade 2 °5
Study of a Head. By Boucher ?4 3
Twelfth Night. By Jan Steen 197
Tyrell, Rev. Chas. By H. Walton 145
Virgin and Child. By Bartolome Esteban Murillo 201
Watermill, The. By Meindert Hobbema . . 199
Pi win, including Colour-Prints and Engravings.
Al thorp. Viscount. By Sir J. Reynolds .. .. 99
"Cardinal York" (Henry Benedict Blomens
Stuart). By Alfred' J. Skrimshire. After
Largilliere . . . • • • • ■ . . 22;
Castlemaine. Barbara, Countess of. By Sn Peter
I.ely .. .. Frontispiece — November
Cornwallis, Marquess. By J. Ogborne. After
H. Walton
Head of Christ. By Quentin Matsys
143
Ion re, Mrs., and CI
lh.lv Fami
Presentation Plati -December
Bv Sir J. Reynolds
Presentation I'hit, September
The. Bv Van Dvck
Frontispiece — Septembei
"Hudibras." By Ralph Wood 157
Langham, Lady. By C. Wilkin. After J. Hopp-
ner. R.A. .. .. Frontispiece — December
LeFaucon. By Demarteau. After Huet (?) .. 213
Louise Francoise de la Baume le Blanc, Duchesse
de la Valliere. By Jean Nocret
Presentation Plate November
Louise Marie Adelaide de Bourbon, Duchesse
d 'Orleans. By Vigee le Brun ... .. H
Man on Horseback. By T. de Keyser . . . . 17
Marie Antoinette. By Vigee le Brun
Presentation Plate -Octobei
Marie Leczinska, Queen of France. By J. M.
Nattier lSl
Princess Fredericka Sophie Wilhelmina. By
J. F. A. Tischbein 83
Newmarket Races. By James Pollard
Presentation Plate — Decembei
Race for the Great St. Leger Stakes, 1836. By
Harris. After Pollard .. .. .. 53
Ramsay, Mrs. Allan. By Allan Ramsay . . . . 117
Study of a Head. By Boucher
Sutton Place, near Guildford From
Portsmouth Corporation Regalia. iVc.
Pottery, Porcelain and China.
Black Basaltes Ware. (Various pieces)
Bow China. Figures and Groups . .
Bristol Delft Plate, 1784 .. ..
China Village, A Little. (Twenty mode
Faience Plates and Dish
Lambeth Delft Plate, Charles II
Lowestoft Mug
Majolica Polychrome Relief . .
Pratt Ware. (Various specimens) . .
Russian Dinner Service. (Medallion, Catharine It.
and 1 Piece)
Sevres Teacups and Saucers, &c
Staffordshire Figures and Groups, by the Ralpl
Woods. The George Stoner Collection
(Various specimens) . . . . . . 1
Wedgwood Teapot 2:4
Jug. A Rare 251
Reliquary, A French 124
• 243
October
34-I3S
79-82
- 3 5 ■
35-4°
189
[6
50 [66
Index
Sl ' I I'll RE AND STATUARY.
Font in S. James' Church, Avebury
S. Mary's Bourne
Silhouette- (Profile Portraits— twenty
Snuff-box, Napoleonic . .
52
• • 253
215-229
.. 47
Snuff-boxes, Some Royal. Fourteen specimens
Stuart Book of Psalms with Needlework Cover
Sutton Place : Halls, Dining Room, Panels, Fir
places, Stained Glass, Tapestry
PAGE
92-95
250
IN THE SALE ROOM
Books.
Annals of Sporting and F; , Gazette, The .. 63
Apperley.
I ,ife 'it .i Sportsman . . . • • • ■ • 62
John Mytton 62
Audubon's Birds of America .. •• •• 63
Bibli I 1 lie Breeches' 1 60 and [599 61, 63
Biblia Sai ra Gracia, 1518 .. ■ • • ■ •■ 62
., Polyglotta, 1514 62
Book "i 1 ommon I 'rayer, 1786 . . . . . • 62
,, Sales of 1909 "9
I;,,a mi nun ad I urn 1 i iten iensis Ordinis. . ..61
Burns, Robert. Ay Waukin 'O. Original MS. . . 62
Carey's Life in Paris . . . . .. • • ■ • 62
Catlin's North American Indian Portfolio.. .. 62
Chapman's Architectura Navali Mercatoria, 1768 61
Cokaj ne' 1 omplete Peerage . . .. • • 62
Columna's H ia, 1554 . . .. 62
Danci of] ife, The 62
1 • oi 1 »eath, The . . . . . . 62
Works . . . . . . . . • . 61
Doral I • Baisers, 1770 . . . . • 62
Dugdale. Monasl Vnglicanum .. ■. 61
1 D dof 1 ibrarj . . .. 61
Grov Hi men .. 62
Glanville's De Proprietatibu Rerum, 1535 .. 61
Patricl Historii oi Pi ini e Robei 1
[615 02
r-Gcneral ii M W 1 Disj oi
1 \ . . . . . . . . . . 63
Gould's Bird lin 63
Haden Seymour. Etudes a 1'Eau-Forte.. .. 62
1 G and Wild Animals oi
hern Africa . . .. .. . . 62
Henry VI 1 1 P 1545 . . . . 63
62
I nth the
Indian .. .. 63
1 . . . 62
• tine.
• Kouvellcs in Vers . . . . 62
'■i
63
Lord. 63
61
62
. . 62
1 .. 6l
PAGE
Books — continued.
Marlowe's All Ovid's Elegies, 1596 ..
Meredith, George.
Poems
Works. 32 vols
Milton's Poems, 1645
Piranesi's Vedute di Roma
Plays and Pamphlets
and Poems, Early English ..
Reichenbach's Icones Flor.e Germanicae et Helve
ticae
Rowlandson. Poetical Sketches of Scarborough .
Scott. Sir Walter. Waverley Novels
Shakespeare's Fourth Folio
Smeeton's General Biography, 18 1 8
Sporting Magazine, The, 1792-1870
Tanner's Mirror for Mathematiques, 1587 .. ■• 61
Transactions of the Institute of Naval Architects,
1S60-1908 61
Walton's Compleat Angler, 1664 .. .. ■• 61
Watson, Dr. Richard. Dispersal of Library .. 62
Watts, Isaac. Hymns and Spiritual Songs, 1707 63
Williamson's Oriental Field Sports 62
Wood's New England's Prospect, 1635 .. •• 62
Wycherley's Miscellany Poems, 1704 .. . . 60
. 62
62,63
. 61
. 62
61
. 62
. 62
• 63
62
61
. 62
. 62
• 63
I 01 I l| 'ORATIONS, AND MEDALS.
Cross for Peninsular War . .
Distinguished Service ( )rder
Mi .Lil I ii I VniiiMil.ii \\ .ir . .
\,,l: WIM IS.
Dubuffe. La Surprise, after Lawrenci
Smith, J. R.
Delia in I own and Delia in the Co
Morland
Ru in \1n11 emenl and Rustic E
after Morland
Turner, C. Le Baiser Envoye, aftei 1 .
nil, .in Jheraton
1 haii Hum Gadshill)
ppendale
1 loi k, \,i " \i t ni 1 '.11 liament
■ a 1
c ,<,, d, Silver vnd Plated \\
1 ■
Index
Pictures and Drawings.
Artz, D. A. C. The Fisherman's Children . .
Beechey, Sir \V. Mrs. Archer
Bell. nn. Barrel. A Gentleman and His Wife
Bisschop, C. The Crown Jewels
Blommers, B. J. Boys Bathing
Bonington, K. P.
Grand Canal, Venice
View "ii the l'i ench ( !i >ast
Bosch, H. The Adoration of the Magi
Brekelenkam, O. A Cavalier and I.. id 5 seated
Table
Brown, F. Madox. Jacobo Foscari
Burne-Jones, Sir E. Green Summer
Chandler, J. \Y. Mrs. Franklin
Clays, P. J. A Calm on the Scheldt
Constable, J.
Brighton Beach
West End Fields, Hampstead
Cooper, T. S. Cattle by a Stream
Corot, J. B. C. Souvenir de la Villa Pamphili
Cox, D. Outskirts of a Wood
Crome, J. A Squall off Yarmouth
Cruz, J. Pantoja de la. Countess Pallavicino
uyp, A.
A Town or
Portrait of
1 River
Youth
Daubigny, C. F.
Les Laveuses, a View on the River Oise . . . . 58
Moonrise . . . . . . . . . . . . 60
Davis, H. W. B. Loch Maree 58
De Bruyn.
Portrait of a Gentleman . . . . . . . . 60
,, Lady .. ., .. .. 60
DeWmt, P. On the River Arun 58
DeWitte, E. Interior of Amsterdam Cathedral . . 57
Diaz, X.
L'Heureuse Famille .. .. .. .. 60
Venus and Adonis in a Landscape accompanied
by Cupids . . . . . . . . . . 58
f'antin-Latour, H.
Asters and Gladiolas in a Glass Bottle . . . . 60
Azaleas in a Jar . . . . . . . . . . 60
Peonies in a Glass Vase . . . . . . . . 60
Fielding, C. Scotch Mountain Firs, Glen Maree . . 58
French School. Portrait of a Lady . . . . 60
Frere, E. The Young Student 58
Gainsborough, T. The Artist's Daughter as a Gleaner 60
Gardner, D.
Mrs. E. A. Hall, afterwards Mrs. Morse . . . . 60
Three Pastels. Children of David Lewis, of
Malvern Hall : Elizabeth, Maria, and
David G. Lewis .. .. .. .. 57
Goyen, J. van. River Scene .. .. .. 57
Clow, A. C. The Requisitiomsts ;8
Graham, Peter.
Evening: Highland Cattle crossing a Stream .. 60
From Beetling Sea-Crags, &c . . . . 60
Greuze, J. B. Jacques Meeker 57
Guardi, F.
An Island near Venice .. .. .. .. 57
Santa Maria della Salute, Venice . . .. .. 57
View of " La Zuecca " .. .. .. ... 55
'ictures ant> Drawings — continue, I '.
Haanen, C. van. Trying on the Ball Dress
ll.ilswelle, Keeley. Shooter's Hill, Pangbourne ..
Harlow, G. H. Portrait Group of Mrs. Hopwood
and Children
Harpignies.lt. Poplar Trees at Herisson . .
Heist, B. van der. Portrait of a Lady
Herkomer. Sir II. von. The Last Muster : Sundav
at the Royal Hospital, Chelsea
Holland, J. The Church of the Gesuati, Venice . .
Hoppner, J.
Portrait of a Lady
Robertson, William
Hunt, W. Holman. The Scapegoat
Huysum. J. van. Flowers and Birds' Nests
Isabey, E. The Favourite, or My Lady's Parrot . .
Israels. J.
Children <•! 1 he s,-,i
Cottage Door, The
Pig-sty. The
Portrait of a Girl
Saying Grace
Shrimper, A
Signal, The
Watching the Cradle
Kneller, Sir G. John, Duke of Marlborough
Landseer, Sir Edwin. Scene from the " Mid-
summer Night's Dream" ..
Lawson, Cecil G. The Doone Valley, North Devon
Leader, B. W.
Conway Bay
Green Pasture
Parting Day
Le Brun. Vigee.
Leighton, Lord.
Leighton, E. Bk
■ ind Mill Waters
Portrait of a Lady
Cymon and Iphigenia
Lay Thy Sweet Hand in Mine
and Trust in Me
Lely, Sir P. Duchess of Cleveland
Lenbach, Franz van. Signora Eleonora Duse
Le Sire, P. Regnier Strik Johanszoon and d'Alida
van Scharlaken
Leys, Baron H. Martin Luther reading tin- Bible
to his Companions
Linnell, J., sen. On Summer Eve by Haunted Stream
Millais, Sir John E.
Joan of Arc . . . . . . ...
Murthly Moss, Perthshire
Rt. Hon. John Bright
Maes. N. Portraits of a Gentleman and His Wife
Maris. J.
A Young Child Seated in a Chair with a Bowl of
Soup
Low Tide
The Bridge
Maris. W.
Cattle in a Pasture . .
Ducks
Dutch Dyke, A
Feeding Calves
Milking Time
Mauve, A.
Cows and Calves in a Pasture
Landscape with Peasant and Sleep
Peasant Girl and Cows
Shepherd and His Flock, A
PAGE
Pictures and Drawings — continued.
Millet, J. F. Jeune Fille attrapee par des
Amours . . ■ ■ • ■ • • ■ • 5 s
Monnover. J. B. Flower in a Terra-cotta Vase,
Fruit, Parrots, and Rabbits 6°
Morland, G.
Comforts of Industry, The ■■ •• •• 57
Miseries of [dleness, the 57
Morri P. R. Piping Home 59
Munkacsy, M. von.
reti i fete ■■ " °
Hi.- 1 wo I amities 5 8
Murillo. B. E. die Immaculate Conception .. 59
Nasmyth, A. Mr. and Mrs. J. Cockbum Ross .. 60
Nattier, J. M. Mile, do Langeis 6o
Neer, Vandei B. Rivei Scene 59
Neuhuys, \. rhe Peasant Famil) •■ ""
I Mrs. Collingwood 57
Ochtervel.lt. J. The Music Lesson .. ■• 59
Orchardson, Sir W. Q. The Challenge .. •• 59
Pettie, |. Sweel Seventeen 59
is, lln-iu. inn. A Musical Reverie .. •■ 5 8
Phillips. J. Selling Relics, Cathedral Porch, Seville 59
Picture Sales of 1909 "3
Pinwell.G.J. Out of Tune: the Old Cross .. 59
Pourbti I- Mary, Queen 01 Scots .. •• S7
Poynter, Sir K. J. Under the Sea Wall .. ■• 59
Prout, S. Milan 5 8
Quilter, Sir W. Cuthbert. Dispersal of Collection 58
Raeburn, Sir II.
Blisland, Master Thomas ;S
Sinclair. Sir John 6o
Rembrandt. Descent from the Cross •■ •■ 57
Reynold-., Sir J.
Portrait of a Gentleman .. ■• •• •• 57
I h( . Grai es decorating a Terminal Figure of
Hymen 59
Venus and Piping Boy 59
Riviere, Briton. The Magician's Doorway .. 59
Romney, G.
Admiral Sir John Orde 57
m 59
slip
Pictures and Drawings — continued.
Romney, G. — continued.
Miss Watson, afterwards Mrs. Edward Wake-
field
Wakefield, Edward, of Gilford
Rossetti, D. G. La Bella Mano
Russell, J. Girl with a Spaniel
Ruysdael. J. Woody Landscape
Sandys, F. Portrait of a Lady
Shee, Mr M. A.
Mrs. Anna Shawe Leeke . .
Mrs. Stephen Kemble as " Co
Stannard, J. A Coast Scene
Steen, J. Backgammon Players ..
Tol, D. Van. Girl at a Spinning-Wheel
Turner, J. M. W.
East Cowes Castle, the Seat of J. Nash, Esq., and
Regatta Beating to Windward
\ enus and Adonis
Van Alphen, Dowager the Hon. Louise. Dispersal
of Collection
Velasquez. Mariana, Wife of Philip IV. of Spain
Veronese, P. St. Gregory the Great and St. Jerome
Vincent, G. Greenwich Hospital
Vos, P. de. A Peacock and Cock Fighting
Walker, J. The Bathers
Waller, S. E. One-and-Twenty
Waterhouse, J. W. Marianne, Wife of Herod . .
Williams, W. Courtship and Matrimony . .
Wilson, R. Solitude
Zoffany, J. James Quin, the Actor
Pottery, Porcelain and China.
Chinese Beakers
Urbino Dishes
K El 1 ■
Fraser, Mr. James Leslie. Disposal of Jacobite
Rehcs and Highland Curios '9°
Statuette Portrait of Shakespeare
fapestry, Brussels Panels
$
%
kl
/
The Collection of Pictures of
German Emperor By J
The Royal Gallery of paintings by the old
masters in Berlin, which is now to be seen in the
splendidly arranged Kaiser Friedrich Museum, was
founded in the early half of the nineteenth century.
In rS3o King Frederick William of Prussia nominated
a Commission of the greatest experts on the art of
the past then living in Berlin, and entrusted them
with the task of selecting from the treasures stored
up in his palaces of Berlin and Potsdam a large
number of works by the old masters, which were
to be added to the
then recently created
public collection.
This Commission
removed from the
royal palaces whole
waggon-loads of im-
portant pictures, and
devoted their atten-
tion particularly to the
paintings of the early
Italian and German
Schools, and to the
Dutch masters of the
seventeenth century.
These pictures, to-
gether with the
magnificent Solly
collection, formed
the nucleus of the pre-
sent gallery, and their
places on the empty
walls of the royal
palaces were forth-
with filled with copies
and works of minor
importance.
Under these cir-
cumstances it was PRINCESSE Tti
His Imperial Majesty the
Kirby Grant
only quite natural that the general public imagined
all the important works of art — or at least all the
pictures of real significance— to have been taken
from the royal collections, especially as the King
himself had in no way interfered with the work of
the Commission. But if we consider that the Com-
mission worked in 1S30, at a period when cold
classicism ruled supreme in art, and when Genelli's
uninspired large cartoons were considered to rank
among the world's masterpieces, we can well imagine
that the Commission
set little store by the
delightful examples
of the French eight-
eenth-century school,
of w hi ch Frederick
the ( Ireat was led by
his admirable taste to
form so unique a
gathering. With the
exception of two
comparatively unim-
portant little paint-
ings by Watteau,
which are now at
the Kaiser Fried-
rich Museum, the
hundreds of fine
eighteenth -century
pictures were left
untouched. Nor is
it very surprising to
find that the King
was left in the undis-
tm lied enjoyment ol
the numero
pies of the art of
Lucas I ranai h and
other early German
The Connoisseur
masters, which had been brought together by his
I 01 the discarding ol these historically interesting
works an explanation is easily found in the fact that
the early German Schools have only in comparatively
recent years received the serious attention of art
historians and students. It is far more difficult to
i for the exemption from the wholesale re-
nt quite a multitude of strikingly fine canvases
by Rub -ns and other interesting examples of various
schools of the fifteenth, sixteenth, and seventeenth
centuries — a mistake which has since been rectified,
thanks to the generosity ot the present German
Emperor and the King of Prussia, which has enabled
the gallery to acquire at least some of his finest
, notably the early Rembrandt and a fine
Rubens.
The circumstances here briefly stated, and the
knowledge of the fact that Charlottenburg was looted
by the Austrians and Saxons in 1760, when many
French pictures were carried off or ruthlessly de-
stroyed, account for the impression prevalent down
to the last years of the nineteenth century, that
few, if any, important French masterpieces of the
nth century were left in the royal palaces.
>i"i. ovi 1. thi ii hool was held in such slight esteem,
that the German art historians of the 'sixties and
practically unanimous, after some brief
lildly patronising remarks on Watteau, to dis-
miss the rest — Lancret, Rater, Fragonard, Boucher,
and even Chardin — in a few contemptuous lines,
which is scarcely surprising when we consider that
tlie art of Velazquez was then considered of small
accounl 1 iared with thai ol Murillo ! Rut
the inevitable traction set in when a number of
the wonderful fetes galantcs pictures collected by
Frederii i own to the Berlin public
on the occasion ol the Crown run'- i silvei wedding
j : and quite a sensation was caused at the
turn of the Century, when a small selection of these
pictures were lent by the German Emperor to the
e,rcat Paris Exhibition of [900. The true extent and
.' ence of the tl iii torial art which
are still distributed over the royal palai
i and 1
d
folio publii 1 Seidel, with the
:
1
I
The carefully selected pictures comprise seventy-two
large excellent photogravure plates, and 12S half-
tones that leave nothing to be desired for clearness.
The historical study of the gradual growth of the
collection from its inception under Joachim I. to
the death of Frederick II., whose successor did not
inherit the great King's passion for art, is from the
pen of Raul Seidel, whose collaborators have divided
the task of describing the pictures in the light of
modern research, Dr. Friedlander dealing with the
early German and Netherlands Schools, and Dr. Bode
with the Italian, later Dutch, and French pictures.
The history of art at the Court of Brandenburg
can only be compared with the art in the neighbour-
ing provinces. The poor soil of Brandenburg was
not favourable for any kind of important artistic
development. The inhabitants had to work hard for
their living, and it was only centuries after the
Hohenzollerns had become the rulers that the poor
country was able to produce an art of its own. All
we know about the early efforts of the Electors of
Brandenburg to foster art is their desire to decorate
the churches which they built and supported. The
oldest of the altarpieces is a triptych now preserved
in the Hohenzollern Museum. This highly interest-
ing work, in which Dr. Friedlander has recognised the
hand of " Meister Berthold " (or Berthold Landauer),
who may be called the founder of the Nuremberg
School, and the ancestor of Albrecht Diirer, was
painted for Frederick I., the first Elector of Branden-
burg, and was preserved in the chapel of Kadol/.-
burg. It came to Brandenburg as a present from
the parishioners of Kadolzburg to the then Crown
Prince, Frederick William. The first Elector him-
self, and his beautiful wife Elsa, figure upon it as
donors. Apart from this picture, all knowledge of
the early developments of art in Brandenburg is
confined to such information as may be gathered
from references in contemporary chronicles and
records of occasional orders given to some eminent
painter lor a portrait of some member of the reigning
family.
I I Renaissam e in German ait in the first half of
the' sixteenth centur) naturally also bore fruit in
Brandenburg, especially under the protection of
Joachim I. and his son, Joachim II., whose brother,
\|' I bi imp Albrecht ofMayence, was one of the most
art patrons and collectors of his time. His
feature-, ai n a little panel representing 5/.
1, m the manner ol Lucas < ranaeh, which is
panion i.SV. Ursula) in the royal
palace at Berlin. 01 the vast commissions entrusted
[oai him I. and Joachim 11., we
shall have to speak latei on. 1 urthei east, Joachim's
The Connoisseur
cousin, Duke Albrecht of Prussia, founded an art
centre at Konigsberg, but the main- wars that were
fought in these unfortunate eastern provinces caused
nearly all the pictures to be destroyed, or to be
dispersed over all the world. The successors of
Joachim II. do not appear to have fostered the fine
arts in their lands. A new impetus was given to the
growth of the collection under the Great Elector, who,
at the early age of eight, whilst slow at everything else,
instructed his London agent to make a purchase at
the sale of Sir Peter Lely's collection, which was held
a year or so after the court painter's death. The only
German artist who appears to have worked for the
Great Elector was Michael Willman (born at Konigs-
berg, 1630), of whose activity a proof remains in a
floridly overcrowded allegorical composition. But,
on the whole, Frederick William preferred to employ
Dutchmen, especially for the purpose of having his
showed a marked talent for painting. At thi
fourteen he was ■ nttol ydenl tinu hisstudies.
mnt for his very
marked predilection foi 1 »uti h art, whii h induced him
later not only to pun hase many works by the Dutch
masters, but to em] iloy n
ition h ith tin- \
de Renialme and ( lerrii 1
itter a on 1
purporting to b
by the great Italian ma 1 covery not only
law action, bul
I
that he
own features portrayed for presentation to other rulers
and friends. The best of these portraits is one by
Govaert Flinck, preserved in the Berlin Palace.
Frederi< k I. took no a< tive interest in art, and the
growth 11I the collection (hiring his reign was entirely
a legacj left to him by Louise Henrietta of
N01 did his sui 1 1 >sor, the stem "soldier-
king," William I., inherit the Great Elector's taste for
the art ol painting, or encourage any leaning towards
it in his son, I d rick II., the Great, during whose
reign th were filled with the treasures
which now constitute the importance of this wonderful
11. Brought up under a rigidly severe military
discipline which amount' d to positive cruelty, this
prince, perhaps in a spirit ol reaction or revolt,
The German Emperors Collection of Pictures
became a passionate admirer of French esprit, French
literature, and the elegant, light-hearted art of the
painters of the/£tes galantes, whose work so admirably
reflects the artificial, pseudo-arcadian life of pleasure
led by the French court and society of the eighteenth
century.
Frederick the Great's friendly relations with Voltaire
have passed into history. His passion for French art
is testified to this day by the vast number of master-
pieces by Watteau and his followers which decorate
the walls of the royal palaces. And just as his inability
brush entirely to love, and not to history, allegory, and
scripture. It was only later in life, when he had
become satiated with the paintings ol the/etes ga/antes,
that he turned his attention to the masters of the late
Renaissance in Italy and Flanders, and confessed,
again in his favourite tongue, that
" fcitne, j'aimais Ovide,
Vietix, i'eslime Virgile."
Frederick II. began his purchases of French paint-
ings before he ascended the throne, when he filled
FETE CHAMPETRE EY J. B. PATER
to attract to his court the leaders of French thought
caused him to bestow his royal patronage upon men
like La Mettrie and the Marquis d'Argens, whose
scurrilous writings and systematised immorality had
led to their expulsion from their native country, he
had to be satisfied, in the sphere of art, with
the services of Antoine Pesne, who can scarcely be
placed in the first rank of contemporary French
painters, although some of the many pictures from his
brush in the palaces of Berlin and Potsdam prove
him to have been an artist of considerable talent.
Frederick's ad miration for his court painter is expressed
in a French poem — the Great King always showed
marked preference for the language he had so assidu-
ously studied — in which he exhorts him to devote his
the walls of his castle of Rheinberg with works by
Watteau, Lancret, Pater, De Troy, Cazes, Coypel,
Van Loo, Boulogne, Chardin, Boucher, and Rigaud.
For a long time Count Rothenburg made purchases
of works of art for him in Paris, and secured for
him, among other things, Pater's two masterpieces,
Moulinet and Dance at the Garden Pavilion, and
some Watteaus, together with a few forgeries of
pictures purported to be by the great Italian masters.
Throughout his life, Frederick II.'s correspondence
with his agents proves that the forger's craft flourished
then as it does now. There are constant recrimina-
tions about doubtful pictures, overcharges, and so
forth. Watteaus were manufactured for him by the
score, when it became known that his agents were
The Connoisseur
searching tor them. On one occasion Mettra made
him pay 60,000 livres for two Madonnas by Raphael
rble {sic), which arrived,
1, broken to pieces. In r.76] Gotzkowski,
another dealer, sent him a whole consignment of
worthless copies after the Italian masters, about
which the Marquis d'Argens, who appears to have
been wholly ignorant in matters of art, had reported
Lancret type," and requires pictures by Rubens, Van
Dvck, etc. In the following year Darget negotiated
for him the purchase of Correggio's Leda, which is
now one of the treasures of the Kaiser Friedrich
Museum. The only pictures mentioned in a letter
to his sister in 1755, in which he states that he
has already one hundred pictures in his gallery at
Sanssouci, and expects fifty more from Italy and
■ [ON 01 I 0\ I BY J. F.
to the King in ' ■ Fredi nek
himself, irobably lacked the expert know-
11
imitation, had excellent taste and very decided views.
ol his agents, hi
paintings by Lemoine and Po
quite nice truth, they
O ild and
unpleasant, and I do not like tl
1 ] k's tasie. which made him
himself
witli the same enei
occurred about 1751, 111 which year h
Flanders to complete this gallery, are the Leda and
other woiks by Italian masters.
In times ot peace and ol war, from the day of his
youth to his old age, Frederick the Great pursued
his collecting hobby, although towards the close of
his lite the state of the exchequer and lack of space
on the walls of his palaces embed to .1 certain extent
Ins eagerness to add still further to a collection that
had already assumed enormous proportions. With
In d< .nil the history ol the growth ol the royal
■ olli • tion 1 -in S to an abrupt close.
Although the last in ordi 1 ol dab . the pictures of
German Emperor's 1 ollection
must be given honoui 1 place, owing nol onlj to
The German Emperor s Collection of Pictures
CD HIS SISTER
\Y [ERWAKl'S
their numerical preponderance, but even more to
their artistic importance. The list begins with Pierre
Mignard, the painter par excellence of the pompous
aye of " King Sun, " who himself is here depicted
on a prancing steed, a figure of Victory or an angel
hovering above his head with a laurel wreath. A
very similar portrait of Louis XIV., showing the
same strange combination of rococo wig and Roman
armour, is at the Palace of Versailles. In its most
accomplished form, the chilling classicism of that
age, which drew its inspiration not from nature but
from Ovid and from Roman sculpture, is represented
by two canvases by Louis de Boulogne, of whose less
gifted son's art the palaces hold seven examples,
including a' Mars and Venus with sporting amorini,
in! which ^we lm ' 1 l glorious Botticellian motif
enfeebled bj constant repetition through the ages.
The Bath of Bathskeba is undoubtedly the finest of
the live pictures by .ban Raoux, who, whilst still
following the despotically imposed Italian tradition,
began in some ol his paintings to devote himself
to scenes from daily life.
To the period of transition from the centurj ol
allegory and pompous posing to thai ol th
The Connoisseur
galantes belong also Francois de Troy and his son
Jean Francois de Troy. Both of them were still
devoted to mythological composition, but the father
excelled in portraiture, as is testified bj his excellent
painting of an actress in the pan of Sophonisbe,
dated 1723; whilst his son displayed his gifts best
in his scenes ol elegant life. To this category
belongs, despite it-- somewhat harsh colour, the
important Declaration of Love, painted in 1 731, a
well disposed and carefull) wrought piece, which is
particularly remarkable for the exquisite rendering of
1 ostum ories. It is by far the most
important of this artist's seven pictures in the Imperial
We now conru to the group ol pictures by Watteau
and his followers, the like ol which is not to he found
in any of the world's collections. Frederick II. was
particularly anxious to adorn his palaces with the best
produi tions of Watteau's brush, and his agents were
lucky in obtaining from M. de Julienne the famous
sign painted for C.ersaint in eight mornings after the
: - return from England, in 1721, the year of
his death ; and other works of unrivalled importance.
tndei d, even leaving aside that epitome of Watteau's
genius, known .1- UEmbarqnement pour Cythire, all
the thin in thi Emperor's palace dati
from the master's best years, when perhaps the con
sumptive's presentiment of the shortness of the span
allotted to him spurred him to restless and feverish
mil made him pour out the wealth of his
visions ol inimitable beauty— visions oi
Ol JO) and love and aloofness from sordid
cares that are yet tinged with a strange sadness.
This haunting sadness seems to have 1 scaped the
■is in their otherwise admirable summing up
of Watteau's art : — ■
"The goat poet of the eighteenth century is
1 li work is filled with the 1 legam ol a
world beyond human ken — the dream creation ol a
pout's mind. From the Staff of his brain, sinm from
his artist's fancy, woven with the web ol his young
eid fairy flights wing their way. He
drew from his imagination em hauled visions, and an
- omprehension ol his age ;
arian. Oh
theatre tble a life ! Oh ! pro-
1
s make a
lawns? What deep and tender and translucent
greenery has strayed hither from Veronese's palette?
Garden shrubberies of rose and thorn, landscapes of
France set with Italian pines ! Villages gay with
weddings and coaches, decked out for feast and
holiday, noisy with the sound of flutes and violins as
they lead the procession to where, in a Jesuit temple,
Opera weds with Nature I Rural stage where the
curtain is green and the footlights flowers, where
French comedy steps on to the boards and Italian
comedy capers I Enchanted isles, cut off from land
by a crvstal ribband, isles that know not care or
sorrow, where Repose consorts with Shadow ! Who
are these who come slowly sauntering along paths
that lead to nowhere? And these, resting on their
elbows to gaze at clouds and streams ? . . ."
In the Embarquement, which is the elaborated and
far more complete version ol his " diploma " picture
now at the Louvre, Watteau has given the supreme
expression of all the vague yearning of his soul. It
is in an absolutely perfect state of preservation. The
pendant to it — the Arrival at the Island — is a clumsy
imitation of Watteau's style by an inferior hand.
Almost as tine as the Embarquement, and especially
remarkable for the perfect rendering of the atmospheric
landscape setting with its vanishing distances, is
E Amour Paisible. The Netherlandish derivation of
Watteau's art, which is so apparent in his technique,
is particularly noticeable in the Shepherds, a some-
what earlier picture in which the protagonists do not
belong to the master's world of imagination, but are
as real in their rusticity as the dancing and carousing
peasants of Teniers and Ostade. In the very beauti-
ful The Dance and The French Comedy an unusually
large scale is adopted for the figures. The dainty
and winsome little maid in the former picture has
inspired a contemporary poet to the lines which
appear under an old engraving of this picture :
" Iriv e'est de bonne heme avoir l'heure de la danse,
1 les tendres mouvements,
Lui nous font tous les , nu -, ■ -imnaiiie a la Cadence,
Le gout <|iie vein- sexe a pout les instruments."
Not all the Watteaus in ih Emperor's collection
are as w the i ns S o far enumerated.
In The LoVi I tson the pigment has suffered to such
an extent that the whol urfaci ippears furrowed
ampitre has been so lib rail]
■ ornpl tely lost its charm ; the
, tie- landscape lacking in atmosphere.
The Bridal Procession, an unusuallj crowded but
less splendidly arranged composition, has
pi in the charmingly
in heads : and althou racks have
bi in skilfully filled by Prof, Hauser, the pi« ture in
MiijyitfWiUHtfwjwMy^
RA SISTO l> I.I.I. A KOVF.HE BY BERNARDINO DE' CON!
The Connoisseur
\ ts pr , s el ■. more of the i storer's work
than of Watteau's original paint. Another important
the Dance in :
i ,.,, h Gallery. Gersaints Sign,
ru t into without the balance of the two
parts hi the composition being materially affected, is
cements,
mi rue position amor ! his lati i works
of both painters' finest performances. It is question-
able whether any collection in France can boast of
Lancrets of such excellence as Le Moulinet, Blind-
Man's Buff, ami the Assembly in the Garden Pavilion ;
or Paters that can rival the admirable Fete Champetre,
the Assembly by the Fountain, and the Soldiers before
an Inn and Soldiers on the March, which are so close
an approach to Watteau as to justify the conclusion
o of a fam iful
world n \
i nil than the li.t ol VVatteaus is
itatii n -I il ma'sti i ■ followers, Lancret
.11 id I '.it. r. v.\ i>< took from him the subjects i and typ ,
i
and qualil j
of pign ! o ■ mi purpose h
i samples of
I'ater, who.
i
.
nets than to li:
thai they were begun by the master, and finished
alter hi. death b\ I'ater.
The intimaq and homelj eh. oi Chardin's
famous companion pictures la Pourvoyeuse (dated
1738) .mil La Ratisi use, replicas ol which are in
ile I iechtenstein Gallery in Vienna, form a pleasing
contrasl to tb artificial atmosphere of these minor
:■ 1 Sonn whal ol .11 nriosity,
owing i" Hi facl thai ;' it re life -1-"' in scale,
Sealing a letter ol 1733.
/,• Dessiuatem < clo ly 1 lal d to the I 'ard I 'astl
of U Henri d Rothsi hild 1 ollei tion, and probably
,iin model.
Spai e does nol permit to enumerate the bewildering
P me's pictures in the Kaiser's
ilthough spei ial m ntion hould be mad-
The German Emperor s Col lee t ion of Pictures
ot the historically important group of Crown Trince
Frederick II. with his sister Wilhelmins, in which
the future soldier king is depicted at the age of
three with a large drum, as though the military spirit
were already active in him in his tender years. The
art of Pesne can only be studied in this collection,
which contains practically his life work. 11< was
born in Paris in 16S3, studied first under his fathei
and his uncle de la Fosse, went to Italy in 1703,
and was much influenced in Venice by Audi .
Celesti. He was called to the Berlin Court in
1710, and became First Court Painter to Frederick
William I., with an annual pension of 1,000 thalers.
From that date to his death at a mature age he
continued to devote his diligent and able brush to
the service of the Prussian Kings.
Of other French painters represented at Potsdam,
Sanssouci, and Berlin, it is only necessary to mention
Hyacinthe Rigaud, Nattier, whose portrait of Princesse
Talmont is a particularly pleasing example of his
decorative portraiture, Quentin La Tour. Boucher,
Van l.oo, and — one of the few acquisitions of more
recent days — a replica of David's Napoleon 1. on
Horseback at Versailles.
Comparatively few German and 1 Hitch pictures of
• iii\ importance have remained in the Imperial palaces.
A portrait of Durer by himself, with an inscription
which gives not only a wrong date for his death, but
professes to represent the master in 1503, is merely a
copy of the Prado portrait of 1498. More interesting
is the signed and dated Caritas, or rather a Virgin
and Child, with angel, by Hans Baldung Grien. But
the strength of this section lies in the ample repre-
sentation of the Cranachs, father and son, who from
their picture factory in Wittenberg supplied the North
German Courts with numberless portraits, altarpieces,
mythological, historical and hunting subjects. In
view of the wholesale turn-out of Cranach's workshop
— it is on record that on one occasion sixty copies
were ordered from one portrait for the Court of
Saxony, such portraits being used much in the manner
of the medals in Italy — and of school copies being
sent out with the master's signature, the winged
serpent, it is exceedingly difficult to establish the
authenticity of many of these pictures as the master's
actual handiwork, especially after 1520, when the
factor) was in full swing. Put there can be little
doubt that the firmly drawn portrait of a lady, with a
chain and girdle composed of the letters 1! and S,
which was formerly ascribed to 1 Hirer, is an authentic
work by the elder Cranach. The initials have led to
the supposition that the portrait represents Barbara
of Saxony. A portrait of Joachim I., signed in the
correct manner and dated 1 5 ^ <j, is presumably from
the same hand, although the costume appears to In
studio work.
By the younger ( Iranach is a portrait ol Joai him II.
in sumptuous attire, which is apparently based upon
the study from nature in the Dresden Gallery. The
Baptism of Christ, which bears the date of 1550, is .1
typical instance of the naive treatment of scriptural
subjects in German art at a time when Italy had Ion-
discarded all traces of the primitive conception of
art. The crowded group gathered on the bank of the
Jordan (which the artist with characteristic disregard
of geography makes wend its course past Wittenberg),
includes portraits of Luther, Melanchthon, the eldet
Cranach, Joachim II. ami his wile, and Joachim and
G orgi ofAnhalt. Even more striking as an instance
■ if the manner in which German art became permeated
with the Renaissance spirit before it had attained to
classic freedom in the rendering of the human form,
is Cranach's deliciously quaint and naive, if ill-drawn,
Judgment of Pirn's. The artist's ingenuousness is tin
more remarkable, as over half a century had passed
since Botticelli had painted his Primavera and his
Birth of Venus, to which this Judgment of Paris bears
the same relation as the Reclining Nymph, of about
1525-30, does to Giorgione's and Titian's marvellous
renderings of Venus. The retrogressive character of
( Yanaeh's art becomes even more apparent, if one
compares his Adam and Eve in the German Emperor's
collection with Van Eyck's figures on the shutters of
the Ghent altarpiece, which stand at tile very dawn
of Northern art. Childish anatomy, combined with
dainty elegance, is again to be noted in the fairly late
half-figure of Lucretia. There is far more action ami
dramatic feeling in the Passion Scenes, forming part
of the series of which a few have gone to the Kaiser
Friedrich Museum. The Judgment of Paris belongs
to a series of upright panels, which also include the
Bath of Bathsheba, David and' Goliath, and The
Judgment of Cambyses. The only other German
works of note are three portraits by Holbein's follower,
Barthel Bruyn.
There is no need to dwell upon the numerous
large- allegories, pastorals, mythological pieces and
pictures of the Chase painted by the Dutch followers
of the academic tradition at Utrecht, and l>\ such
flemish artists as Boyermans, Willebouts, Rombouts,
and Ryckaert lor the dee. nation ol the ( ireat Eli 1 lot's
and the early Prussian kings' palaces. Only few
Dutch pi' inn's have remained that represent the art
of the Rembrandl School and ol the "s nail masters,"
and chief among them is one of Rembrandt's
earliest works depicting Delila betraying Samson. It
was painted in 1628, and thus being one of the
master's earliest pictures, shows the weaknesses ol his
The Connoisseur
immature style, with a clear indication of the promise
of his great future. Rembrandtesque in character is
also Jan Livens's portrait of Sultan Soliman, and in
a less : Flinck's Bathsheba. One of
the treasures among the hutch picture-, is a small
ian portrait oi a youth by Thomas di RLeyser,
similar in type to the pictures al thi Dresden and
Frankfort Galleries. There an- also some interiors
with peasants by Molenaer, an early picture ol two
smoking women bj Jan Steen, and a showj portrail
group b) Netscher.
It is surprising thai quite a number oi important
works by Rubens and Van Dyck 1 1 . i x . remained in
tli [mperial palaces. In tin case ol the former the
: pictures, such as the Birth
oj Venus, V< > and Adonis (which is almost
identical with tie- canvas at the Hermitage), the
and Dejaneira, Christ triumphing over Death
and Sin. and the Four Evangelists (formerly ascribed
to Van Dyck), ate studio works after the master's
designs, and with evidences of his own handiwork
in the finishing touches. Entirel) b) Rubens's own
hand is tin- verj beautiful Mother and Child, which
o -fwc-like in conception that it can scarcel)
■I accepted as a Virgin and Infant Saviour: a
signed portrait oi Augustus, which belongs to a series
ioned b) Frederick 1 [enry oi Orange from
Rubens, Hoeck, lew-ins, and Terbrugghen ; the
delicious Holy Family of the Work Basket, a copy
of which is at the Vienna Museum ; and a large
brilliant sketch of the Finding of Romulus and
Remus.
Most of the Van 1 h'eks belong to his early youth,
when he was either still working in Rubens's studio
or was at least entirely under his influence. A picture
of A River God is a fragment cut out of one of these
early works. Of gnat importance, as showing the
master) to which Van Dyck had attained at the
early age of sixteen, are the two paintings of the
Virgin Man and Christ, which may be dated with
a fair amount of certainty, since they correspond with
the apostle series painted by him in 1615-16. A few
years later in date is the Head of a Man al Prayer,
which is marked 1>\ great breadth of modelling. Both
the Five Children of Charles I. and the St. Jerome
can only be accepted as studio works ; whilst the
charming little nude Skating Boy is certainl) not
by Van 1 >y< k.
The few Italian pictures at the Sanssouci Palace
are almost without exception from the Solly collection,
and include, besides an important profile portrait of
Sixtus [V.'s nephew, Fra Sislo delta Rovere, by
Lodovico Moro's favourite portrait-painter, Bernardino
de' Conti, a signed Madonna, by the Veronese Paolo
Moranda: the Decapitation of St. John, by Girolamo
Romanino ;
Christ at I'.mmaus, by Francesco da
Ponte, Jaci
po bassano's son ; and a Madonna and
Saints, whi<
1: 1 >r. bode ascribes to Carletto Veronese.
The Montgolfiers
By Mrs. F. Nevill JacKson
" Balloons occupy senators, philosophers,
ladies, everybody" — this remark, made by Walpole
concerning aeronautical experiments in England,
applied with equal force to such matters on the Conti-
nent, and it is interesting to note the mark made
by this popular craze on the china fans and other
bric-a-brac of the latter half of the eighteenth century.
Joseph Michel Montgolfier was born in 1740, being
one of a large family ; his father was a paper manufac-
turer. Joseph ran away from school at the age of
seventeen, and after various adventures was found and
brought home, and again handed over to his professors
and set to study theology, which was most distasteful
to him. He found a treatise on higher mathematics
at this time, and became enthusiastic on this subject :
his calculations and study led to practical experiments
in pneumatics, and he invented several machines for
the improvement of the manufacture of paper, which
were used in a separate establishment, as his father
would have none but the old methods.
The inventor of anecdotes has not failed to supply
a story, in which a shirt airing before a lire became
buoyant through being inflated with hot air, and thus
supplied the idea to Montgolfier of aerial navigation
by means of the inflation of a bag with gas or lightened
air, but in reality his close scientific study led Mont-
golfier to his discovery.
There is an interesting print which shows him in his
study contemplating a picture of Gibraltar, which was
at that time being besieged. "Gerait-il done im-
possible que les airs oppressent un mo/en pour
pe'ne'trer." Thus we see the idea that the balloon
FAIENCE l'l Alts AND UIMi
The Connoisseur
should be used in warfare was almost simultaneous
with the discovi ry <
The two Sevres teacups and saucers which are shown
in our illustration are elaborately painted with scenes
in which military men are manipulating the Mont-
, as they were then called, and on the handsome
pendant, set with paste jewels, a well-defined parachute
is seen hanging below the balloon.
By 1 7S3 the two brothers were working together,
the younger, Etienne, having given up architecture
to join tl ness of his father. The similarity
of their tastes and studies, and their passionate
devotion to each other, made their experiments for
perilling the balloons of immense value. On
[une 5th, 1783, a public exhibition was given at
Annonai, when a balloon of silk lined with paper, of
no feet circumference, was sent up with perfect
In the following September an exhibition was given
before the court at Versailles, and later the same
model was used, a basket being attached containing
animals, which, after an ascent, returned to the ground
unharmed. The idea that the air was conquered
appealed ecstatically to the imagination of the courtiers,
and Pilatre de Rozier and the Marquis d'Orlandes
volunteered to be the first travellers in an unattached
balloon. This adventurous ascent was made at the
Chateau de La Muette with complete success, and in
the following year Joseph Montgolfier became the
third aeronautic traveller.
A small medal was struck by means of a subscrip-
tion, under the direction of M. Faugaes de Saint
Fond, to commemorate the ascent at Versailles — a
specimen now in the house of Madame de Sevigne, in
Paris, shows portraits of the two brothers in profile ;
another medal of the same design, but larger in size,
was issued to commemorate the ascent at the Chateau
de La Muette.
The brothers were made correspondents of the
Academy of Science. Etienne was decorated with
the Order of St. Michael, and Joseph was given a
pensionof 1,000 francs, while their father was ennobled.
Louis XVI. gave 40,000 francs for the purpose of
further experiments ; these were being carried out
when the Revolution put an end to all such useful
work. Though active experimenting was no longer
possible the brothers continued their work calmly
through all the turmoils of that stormy time. Etienne
was several times saved from arrest through the de-
votion of his workpeople, who adored him, but the
,
MAN ON HORSEBACK
BY T. DE KEYSER
In the collection of H.I.M. the Gc
n, Empe
Tli c Mou tgolfiers
Terror had a disastrous effect upon his mind, and he
died in 1799.
Joseph survived his brother eleven years, and during
that time improved his balloons, and invented mam-
useful mechanical appliances, especially connected
with hydraulics. He wrote little, his best known works
being: Discours sur /'Aerostat, published in 17S3 ;
Memoire sur la Machine Aeroslatique, 17S4 ; and Les
/ >yagt un Aerieus, 17S4.
In these days of specializing in collecting early
ballooning would make an excellent theme for the
small collector. The prints, both French and English
— for Lunardi, the Italian, created in England just
such a furore as did the Montgolfiers in France
— are extremely interesting, and every trinket in
enamel, porcelain, leather, and ivory, was utilised at
this time for representing the novel means of aerial
navigation.
. c 1 1 ■ 1 \ i h b
A Collection of Earrings
By Mrs. Herbert Bennett
With all the races of the world, from the
to the most highly civilized, earrings
have been a favourite form ol ornament from time
immemorial. Their origin is beyond history. Bar-
baric it must have been; but their earliest shape
ami substance, their possible significance, the
material out of which the) were fashioned, and the
identity ol the man 01 woman who, greatly daring,
nade and wore them, are all lost in the mists
iiiity.
It is, however, known with certainty that th
n . the !'■ rsians and Babylonians,
1 Lybians, and < iuthagenians, and were
worn by both - ■
on th i ontrary, they
were worn exclusively In women, and probably onlj
o 11 n of th.- highest rank. In the Iliad Juno
ling herself wil h ean ings -which
are described with great care and accuracy as con-
sisting of three drops resembling mulberries. Pliny
and Seneca both mention their use by the women
of their time, ami it must not be forgotten that the
ears of the Venus de Mcdicis are pierced to receive
them.
Many very old Egyptian earrings have been pre-
served, some of such beautiful design that they have
been copied almost in detail and adapted to modern
requirements.
Coming to our own country, and nearer to our own
times, we find that during the reigns of Elizabeth
and James I., earrings were worn in England by men
as well as women. The custom is frequently n fi rred
to. Hall, in his Satires, speaks of the " ring, d i u
of a newly-arrived traveller, and in Every Man in
his Humour, one male character says to another,
•• 1 will pawn the jewel in mine ear." Eong since
A Collection of Earrings
discarded as unmanly by the majority of the sterner
sex, it is strange that the practice has still clung for
centuries to the hardiest of our blood and race :
sailors and gipsies — the wanderers of the sea and
land — wear earrings to the present day.
With a history so ancient and so honourable, lend-
ing themselves as they do to the greatest beauty of
form and colour, and demanding the utmost delicacy
of workmanship, it is remarkable that earrings have
received such scant attention from collectors. A few
pairs here and there have been gathered together,
but not in sufficient numbers to give any idea of
the scope and fascination of the subject, which ranges
from the merely grotesque to the highest develop-
ment of the goldsmith's art.
always been a favourite ornament for the ear. Seneca
speaks of an earring set with four pearls and says
that it was worth a patrimony. Evidently then has
been a revolution since those days in the relative
values hi pearls and patrimonies.
A pair of Venetian earrings of a later date is in
the shape of a cap of liberty, set closely with
alternate bands of turquoise and garnets and having
one small yellow topaz just under the opening of
the cap. Another pair of Venetian origin bears-
the head of a negro exquisitely wrought in black
enamel and wearing a turban of white enamel and
gold.
From Rome comes a pair of long cameo ear-
rings, pale buff on a white ground, the background
k
<f
&¥&$
■ 11 oof.
,'•■■:■
It was recently my good fortune to see a
collection of more than a hundred pairs, the
property of a friend who, during many holidays
spent in wandering over Europe, has made a point
of buying a pair of earrings, the older the better, as
a memento of every place she visited. So simply
did the collection begin, and the result is nothing
short of a revelation.
The premier place, in point of age, must be given
ti« a pair of mediaeval Italian earrings bought on the
Ponte Vecchio. Their shape is an elongated hoop;
the upper half beaten out almost to the fineness ol
wire, and the lower widening into a hollow basket
cri cent of open-worked gold in a very ornate leaf
pattern. These earrings are the same back and front,
some of the leaves on either side- being enriched with
Mil and white enamel. A ruby is set in the centre
of the crescent, and its lower edge ornamented l>\ a
hanging fringe of little Oriental pearls.
Next comes a most beautiful pair of Italian ear-
rings in fine gold and pearls, of such venerable age
that the pearls are beginning to crumble. Thi ha;
The Cap ,■■ Venetian.
■ Mh ,. n: Uamoi
being carved in fine diamond pattern ; and two
beautiful pairs in turquoise, one pair being of a
very curious bell shape, having the stones set in
long downward lines and a rosette of turquoise at
the top with a large pearl at its centre. Naples
contributes an exquisite pair of earrings. Thev are
formed of long loops of the finest seed coral,
hanging from a gold crown made in the lightest
ami daintiest filigree work, and set round with
turquoise. At the top is a small coral medallion
carved with the head of a buy and set in a frame
of filigree gold and turquoise. The coral is a yerj
Im colour and the heads the smallest that Can he
cut.
Amongst the Italian earrings are two beautiful
specimens of the rococo style. One pair is in
gold, with two lumps, one inside the other, caught
together by a smaller lump at the top, and lavishly
set with various coloured stones. The other is of
open work oxidized silver, shaped like a rounded
hield, the centre set with a ruby surrounded by
tun luoise.
The Connoisseur
A pair of old Spanish earrings from I'm i
one o i tion. No less
oui inches and a half long, there size alone
to respect.
But their workmanship is I itiful, and their
onsidering their length
and th ,vith which they ai
["he i design are thickl) studded with dia-
monds and the pear-shaped stones are pale pink topaz.
I inish ait is a
of i irrings in filigree-
's.' less than live tiers go to make up the
length, "' and sewn with the
finest >erd pearls. A verj dainty pair comes from
These also are in filigree work in an
111. collection boasts two particularly good speci-
mens of the Georgian period, one being extremely
rare. From a button framed in filigree gold hangs
a pear-shaped drop nearly four inches long, drop
and button alike- being of the clearest and purest
white cornelian. The shape is SO graceful that the
effect is not in the least heavy, despite its length,
and the stone is without a Haw. About half an inch
from the bottom, the drop is girdled by a line gold
i inn. fastened in front by two leaves in filigree work,
and a tiny forget-me-not set with turquoise. It is
most unusual for "drop" earrings to be ornamented
in this way. The other pair is of the same length
anil shape, but plainly made in moss agate, with
.1 verj simple gold Setting.
ntll-slm/iea
■
,„/,„/.,
i : hit pattern, stu< Ided lei e an. I there w ith
p. -ails. i i nape i lighl and pretty, and
hole has somewhal thi effeel of a finely-
■ nut. Then ar two pail ■- ol long
rings, i .in- i i w nh diamonds,
But the mo ' I" autiful ol all the Spanish
collection ' te top, sel with pearls, to
tached an i lal .oral gold and pearl bow-
This in its turn supports two large gold vine
ly di signed bum h ol
earrings made
1 loop set with dianv mds, am !
a stiff In- i the centre.
in sented by
i period
I irite bum h ol
nail pearls,
by two
["he early Victorian earring was nothing but a
modifii ation of the Georgian, the principal dm
being that the drop was considerably shorn r. < H
these the most beautiful is a pair in a very rare
shade ol green cornelian. The colour is indeed
almost indescribable. It is neither apple-green nor
water-green, bul something jusl midway, and has a
curious limpid tone like a green sea in sunshine.
The drops are cunningly finished with diamond tops,
which set them ofl tdi antage.
A pair of short pear-shaped drops in white
sapphin . banging from marquisite hows, look verj
nd pn tty ; and there are two pairs of amber
ol i mi 1 :d amber, the other
■ I tops.
Coral earring- were verj fashionable during this
their value bein rfei ti I their
colour. This is typified \>\ a pan ol drops m ,
settings sh I]- d like ii> i up ol an acorn, and In
anothei pah ol a verj unusual design, that is best
d as all straight lines and light angles. The
A Collection of Earrings
: Gipsy Hoof. Emitre.
" ■
colour of the first pair is the softest pink, as delicate
as a rose leaf; the latter is of so deep and rich a
red that it almost approaches crimson lake.
A pair of long crystal earrings, another pan si i
with flat-cut garnets, several in filigree gold work,
and a lozenge-shaped pan in tortoiseshell and gold,
all date from the middle of the last century. So
does a very beautiful pair of carbuncle ear-drops,
having the stone ornamented by a diamond fly with
carbuncle eves.
The "hoop" ranings are a class to themselves;
and here a pair of old English hoops, set with Hat-
cut garnets, can be compared with a genuine gipsy
earring in line red cornelian, and with two pairs
of Empire hoops, one set with pale yellow topaz,
the other with seven emeralds in graduated sizes.
This stvle of setting is verv uncommon, hoop
AV, 0C0
earrings being generally ornamented with even-sized
stones.
Amongst the earrings that an- unclassified as to
period, there is one pair of very quaint Hat ivory
drops, shaped something like a Turkish slipper, and
having the toe carved in relief with the head of
Mary Queen of Si ots. A pair of Flemish earrings
in pierced gold, in shape resembling an inverted
Kg\ptian fan, and a pair of amethyst and turquoise
drops with a rosette top, are both beautiful in form
and colour, while a pair of Dutch peasant '.airings
quite Indie their name, being pietU and delicate to
a degree.
Indian hoop earrings in fine filigree work, tiger
claws set in gold, a pair of double hoops from
Mexico, in 'based gold and pearls, and a pair of the
same shape in a line shade of turquoise blue enamel,
•
'-
.
The Connoisseur
. hai hi foi lovers ol fine work
and curios \ t drop earrings bought
I [agui has a large pearl set upon the stone,
and is finished by an - laboratelj i hased gold top,
thrown up with lines ol black enam
But nothing in the who! i oil :i i ion is mon rari h
than i pair ol long earrings made entirely
in pearls, ["he model is unmistakable, the execution
marvellous. It is a fuchsia, a white fuchsia so per-
i .
'a /
fectly worked in tiny sued pearls, that not a vestige
ol gold is visible.
It is not possible in the scope of this article to do
more than touch upon a few of the most prominent
items in an almost unique collection, but it may at
least serve to show the variety that the study of
earrings offers to those who care to pursue it. Ir
would amply repay any one in search of a fresh and
practically untrodden field of interest.
Some Recently Discovered Miniatures by Robertson, Plimer,
Cosway, Engleheart, and Smart By Dudley Heath
Miss Emily Robertson, in her excellent
volume on the correspondence of her father, Andrew
Robertson, miniaturist, publishes amongst other very
interesting letters 'one in which the painter describes
his first visit to the studio of Raeburn, the portrait
painter. It was at the age of sixteen that young
Robertson went to Edinburgh to study landscape and
scene-painting under Nasmyth, but, he says, " being
very desirous of seeing Raeburn's pictures, I bravely
knocked at his door, armed with a shilling for his
servant." Presently Raeburn comes and talks to
the modest and half-frightened aspirant, and with
genial tact draws from him the confession that he
desires to copy some of the great painter's works.
After considering a
little, Raeburn gener-
ously has a small room
prepared where the
student is allowed to
copy any of the por-
traits that he chooses.
Robertson then tells us
that "the first picture
that I copied was an old
gentleman, a half length,
of Mr. John Tait, advo-
cate, with a blazing warm
sky on one side, close to
the head, which I thought
injured the effect. I never
dreamt there was any
harm in altering it and
lowering the tone. Rae-
burn stared at my copy
and frowned, then at me
and smiled, saying, ' I see
you have improved upon
my composition.' 'Yes,
I think it is an improve-
ment ; don't you think it
is ? ' He then laughed heartily at my simplicity and
asked me to dine with his family next day at his
picturesque and delightful villa at Stockbridge, but he
never forgot the joke of my altering his composition.
Some years after I saw the picture again and found
that he had adopted my alteration. This enabled
me to turn the joke against him, but he said he 'did
so merely to oblige me.'" This letter is, as Robertson
himself declared, a far better pen-portrait of Raeburn
than any that exist on canvas, and incidentally it is
an excellent impressionistic sketch of the lesser genius,
his pupil. But what is of immediate interest to us is
the discovery of this first miniature copy by Andrew
Robertson of the portrait of John Tait, advoi ate.
This portrait, as it
now exists, contains two
figures, John Tait, Esq.,
of Harvieston, and his
grandson of the same
name. The figure of the
child was inserted into
the picture by Sir Henry
Raeburn after the grand-
father's death. The
copy which Robertson
made was painted in the
year 1793, three years
before the grandson was
born. These facts ex-
plain any differences
that exist between the
two pictures, but the
nl replica "in
little " ot the advocate's
portrait shows con-
clusively the source of
Robertson's style, and
provi how faithful he re-
mained to his first admir-
al ii m 1 t the Scotsman's
The Connoisseur
RT (SIGNED)
genius. This miniature has tin- additional interest
of an inscription on the back, in Robertson's hand-
writing — " John Tait,
after Rael ■ I
i London." It
was in the posse
a lady in Sussex, who
■ loi ii
with other miniatures
id not to
I
ol \1 i
- ish this
I loll.
R
- w Plimer, is
i ' |
vhich little
EDWARD
tiie Royal Academy during this time, and the only
evidence forthcoming of his whereabouts is chronicled
in a 1 etter from his
wife's sister, in which
she speaks of him as
working in the West of
England. The original
of the portrait was born
at Twyford House, near
Winchester, i n M a y ,
1S0S, and at the time
the portrait was painted
he was about six years
old. He was the son
of C.eorge W. Ricketts,
Receiver- General of
i 1 [ants., whose
ivife, I.aetitia. was
i and co-heir of
Car e w M ild may, of
Shawford 1 louse, Hants.
Edward Ricketts re-
i i i\ ;<1 an appointment
in the 1 reasurj < »ffii e,
Lord I ;\ r] '.
.it lover
and collector ol pic
.- >k ,. The
- harm o! i olour of the
original miniature is a
little unusual ; the
background ii ■
Some Recently Discovered Miniatim
PORTRAIT OF A LADY BY J. SMART
neutral tint, the tunic is a nut brown, and the mantle
a dark green : this, with the fair hair and fresh com-
plexion, forms a very pleasing harmony.
We now come to two notable examples by Cosway
and Engleheart respectively, both of which are
extremely characteristic ; the one a delicate, free and
graceful, tinted drawing, and the other a fine, distin-
guished portrait of a gentleman. They have rei i ntlj
come into the possession of Mrs. F. Maltby Bland.
If my deductions are correct, which I believe they
are, these two portraits represent Col. Elliott and
Mrs. Elliott, his wife.
The drawing, at any rate, is known to be a portrait
of Mrs. Elliott, nee Miss Maltby, sister to Dr. Maltby,
Bishop of Durham. This lady seems to have been
painted several times by Cosway, and other members
of her family were also painted in miniature by the
French painters, Troiveaux and Mansion. There
was exhibited at the Burlington Fine Arts Club, in
1889, a miniature ol Miss Maltby by Richard Cosway,
belonging to Mr. feffery Whitehead. Appended to it
PORTRAIT OF A ..ENTLEMAN BY G. ENGLEHEART (SIGNED)
was the following note: " Miss Maltby calling one day
at a friend's house, where Cosway was visiting, he pro-
posed taking her likeness just as she was then attired ;
( 'oswav called this lady one of the three Craces."
The portrait of a gentleman, by Engleheart, has
always belonged to the same collection as the drawing
of Mrs. Elliott, and is signed "E" and dated 1S01.
On reference to the list of miniatures painted by
G. Engleheart in that year, there is found to be one
of Lieutenant-Colonel Elliott, and as this is the only
member or connection of the family that he painted
in 1S01, it is fairly safe to assume that it is a portrait
of the husband of Mrs. Elliott. The other little
miniature of an unknown gentleman is also signed,
but not being dated and having passed through many
hands it is impossible to identify it. It now belongs
to the owner of the Robertson miniature. The
small portrait ol a lady, by John Smart, is similarly
without any evidence or associations which can help
in attaching a name to it, though it is undoubtedly a
work of that painstaking painter.
^<£%
The Armourers of Italy
Part I.
By Charles ffoulkes
1\ a former article in this magazine a
general survey of the armourers of Europe was given
with illustrations of their trade-marks. This might
have been sufficient to whet the appetite of those
who before had never realised what a high position
n held during the Middle Ages and
Renaissance, but it can hardly be said to have done
justice to the individuals and their masterpieces.
Withoul unduh exaggerating the importance of the
• I the armourer, we may justly consider that,
of all the applied arts, this alone, in its finest
p i od, fulfilled
all thos
essential con
(litmus without
which ti"
work of art or
nship
can exist. The
I nstly,
liould
:; in the
best |
for which it
This is cxein-
in the sto
i n the
weapon will slip harmlessly. The second condition
is that the work should be convenient for use. In
the best period of armour, roughly speaking from
1400 to 1570, this convenience is admirably studied
in the easy movements of knee and arm pieces,
and in the laminated plates or horizontal strips
which compose the defences for the upper arm,
hand, and feet. To any one who has made the
experiment of wearing a properly constructed suit of
armour this fact will be plain ; for the weight is so
evenly distributed over the body and limbs, and the
articulations of
the suit follow
the anatomical
construction of
the wearer so
closely, that,
in but a short
time, the suit of
plate becomes
a second na-
ture. The
third of our
conditions is
that the work
should suggest
the material of
which it is
made, and that
only. This
rule was often
broken at the
beginning of
the sixteenth
century, when
11 1 1. a ame t h e
fashion to imi-
tate in metal
the puffed and
;toni slashed suits of
The Armourers of Italy
civilian dress. The human lace was also represented
on helmets, of which many are to be seen both in
private and State collections. One helmet in the
Tower has steel moustaches fixed to the lip, and the
eyes which form the occularia of the helmet present
a very grotesque appearance. The fourth condition,
which was more often regarded in the breach than in
the observance during the late sixteenth century,
insists that any decoration or ornament shall be
subservient to the foregoing three conditions.
When we remember the ceaseless wars of the
Italian States during the fifteenth and sixteenth cen-
turies, and also take note of the fact that the safety of
the leader of the army was of para-
mount importance, we can readily
understand the importance of the
armourer and of his craft. The
chief centre for this trade was Milan,
and it may be of some interest
to note that our word " milliner "
was originally the " Milaner " who,
besides supplying armour, was a
universal provider of silks, ribbons
and laces for feminine wear.
So great was this industry even
in the early fifteenth century that
we find this town supplying ar-
mour for 4,000 cavalry and 2,000
infantry in a few days after the
battle of Maclodio, which was
fought in 1427.
The State Archives at Milan No. II.— mar
, a brigand:
contain many references to the
armourers of the town, of which it will suffice to
take those which concern the principal artists whose
work remains to us in the national museums of Spain,
Vienna, Paris, Turin, and London.
The name of Ferrante Bellino, however, should be
noticed, for he is accredited with an invention for
polishing steel about the year 1570. It is needless to
point out that this had been done long before this
date, but the fact that it is mentioned in Morigia's
Historia dell' antichita di Milano (1592) shows that
it must have been a new and remarkable improvement
on the old methods.
Armourers were sent over with armour made for
the Karl of Derby in Milan, when the Earl-Marshal
proposed a duel against him in 1398, but Froissarl
simply states the fact without entering into details.
Statues, monuments, and medals are excellen
for dating a fashion in costume, for they prove
that at any rate it was worn before the date of
their execution. A reference to the statues of C.atte-
malata by Verrochio, Coleoni by Donatello, and the
11 :dals of Pisanello, if examined side by side with
the armour shown on contemporary German monu-
ments, show that the armourers of Italy at the
middle of the fifteenth century were in advance of
ih' 11 German rivals, especially as regards the decora-
tion nf armour, which was rarely attempted in Germany
at this period.
lew records exist of the Cantoni family, who
flourished in the middle of the fifteenth century.
Jaccopo is mentioned as " Magister Armorum " in a
document dated 1492, and again we find mention
of tlie fact that he was dispatched by Galea/, Maria
Sforza in 147S-S0 with two cases of arms of all kinds
and sixty cuirasses. A brigandine
in the Armeria Reale at Madrid
bears the signature of Bernadino,
his son, on one of the plates, and
two suits in the Vienna Armoury
are attributed to him by Sig. Gelli
and Moretti.
The Merate brothers, Francesco
and Gabriello, flourished at the
beginning of the sixteenth century.
Examples of their work and trade-
marks are not definitely known;
but in a note on No. A. 3 in the
Catalogue of the Madrid Arm-
oury, Count Valencia suggests that
the signature M stamped on this
suit may possibly be ascribed to
them. The magnificent bard or
cantoni on i lorse armour in the Tower, known
Vr MADRID , .. ~ .. it,,!
as the Burgundian bard, bears
the same mark. This armour is embossed with the
Burgundian badges, the cross ragule, and the flint
and steel. It was sent as a present to Henry VIII.
by the Emperor Maximilian. The embossing of
the bard in no way offends any of the con-
structional laws. The designs are not raised with
a sharp undercut outline, but swell gradually from
the flat planes, preserving thus the smooth glanc-
ing surface, and by the boldness of their treatment
increase the strength and resisting qualities of the
armour.
The Merates were employed by Maximilian, the
husband of Mary of Burgundy, and worked both
at Arbois in Burgundy and in Milan. The Emperoi
mentions Francesco and his brothei .is good armourers
in a letter sent to Ludovico il Mom dated Worms,
25 April, 1495. In the list of taxpayers in the
parish of S. Maria, lieltrade, the church ol '.he
Swordsmiths' Gild in Milan, Gabrielo da Merate is
mentioned under the dates 1524-0 as being liable
for 200 ducats as an annual tax. The village ol
*®%Z9l
The Connoisseur
\I .rate, from
w h i c h t h e y
took their
name,lii
ten mile
Missalia, which
name
to a n o t h e r
famous family
• • irers.
This i. mnl'.
ol Missaglia,
\ igroni, al-
though taking
thei r n .1 m
from the village
oi M issal ia,
seem to have
made their
a first
in I Ho, 01 Ella,
near the hike ol Como. They migrated to Milan
as their business 1 xtended, ami soon collected 3
ientel ol Italian ami foreign prii
anxious to employ these master-craftsmen.
The interesting details concerning the Missaglia
:n til- Via degli Spadari, Milan, have been
111
fully treated in
Cielli and Mor-
etti's mono-
graph on this
family. The
house was
pulled down in
1 90 1 to make
room for street
improvements.
( )n September
15th o f that
year a farewell
festival was
held in honour
of the statue
of the Virgin,
which stood at
one corner of
the building —
an object of
great veneration to the artisan population of this
quarter of the city. To give credit where it is clue,
we should mention that it was the late Herr Wendelin
Boeheim who first made use of the material con-
nected with this house and its occupants in the Vienna
Tahrbuch des Kunthistorischen Samlungen, 1 889, and
>' >R I II
'
■ ■"... . > t
■ II AN
IAGLIA M '
The Armourers of Italy
an interesting note
on Boeheim's dis-
covery of the house
is given in Baron de
Cosson's Arsenals
and A rmourers of
Southern German r
( Arch. Journ. xlviii ).
The decorations on
the house have been
restored in the ac-
companying sketch
from the fragments
which were discover-
ed previous to its
demolition. The
monograms of the
family, and also of
Antonio, one of its
NO. VI. -ARMOUR OF ROBERTO
SANSEVERINO, VIENNA BY
a.ntonio missaglia, circa 1480
appear at the top; below these are
painted the " Iride " or rainbow badge
of Galeazzo Sforza and the Cardinal
Ascanio, the broom used as a device No. VII.— ma
by Ludovico il Moro, the dove of Bona AND ° THER "
' . MISSAGl
di Savoia, and several astrological and
astronomical designs. This house was used as the
residence of the family, and only the finishing work
was done here. The heavy work was carried out at a
".molino," or factory, near the Porta Romana, for
which the Missaglias paid a quit-rent of one salad, or
light helmet, every year to the Duke of Milan. The
unfinished armour was brought into the house in
the Via degli Spadari by the " Porta d'Inferno." a
name which survived till the demolition ol the house ;
and, when we picture to ourselves the gloom of the
typical Italian workshop, the ruddy fires, and the > lang
of hammer on anvil, we realise the suitability of the
name. Few complete suits signed by the M
family exist. There are two in the Imperial Museum
at Vienna bearing the marks of Antonio and Tomaso,
and one of later date by a member of the Missaglia
family in the Musee d Artillerie in Paris. This suit
(catalogued ('.. 7) is finely engraved and gilded in
parts. It bears the image of the Virgin with the
motto "O Mater Dei memento mori." The decora-
tion in no way impairs the utility of the armour,
I nit simply enriches the surface without interfering
with the polished surface. The gorget, according to
the catalogue of 1890, does not belong to the suit.
A suit in the Royal Armour) at Turin (B. 2) is
ascribed to Antonio Missaglia, but bears no mark.
The fan-shaped plates at the knee bear some re-
semblance to those shown on the statue of Gattemalata
by 1 >onatello.
Several salads in the museums and armouries of
Europe and England bear the family stamp, one is
preserved in the case near the entrance to the Council
Chamber of the Tower, and near to this is a " 1 lose
helmet," bearing the mark of the same family, which
forms part of the " Tonlet " suit of Henry Mil.
There is also a salad with a similar mark in the
Wallace collection.
In 1466 we find mention of the balance of an
account being paid to Antonio Missaglia of the sum
of 30,568 lire 2 soldi 1 1 denarii, for armour furnished
by his family to the Duke of Milan; and in the year
1465 the sum of 22,400 lire for arms, supplied to
the " famigli, camereri galuppi, ragazzi
ducali," for the ceremony of the marri-
age ol Madona Ippolita with Alfonso
of Calabria, and again for 3,200 lire
for arms furnished to Galeazzo Sforza,
1 Hike of Milan, for his journey to
Prance. That this family did not con-
line their trade to Italy alone is proved
1BERS OF THE
by the entry of 8,800 lire
for arms promised to the
King of Prance (Louis
XL), and to certain of
his knights and ambas-
sadors.
The total of this por-
tion of the accounts of
the Missaglia fa
comes to nearly a hun
tired thousand fra
only represents a small
portion of their business.
Baron de Cosson, in
the number of lh' /
logical Tournal
above referred
to, suggests that
the magnifi-
cent monument
of Richard Bi au-
champ, P. ail ol
NO. VIII. m: Mi 11 R 01 11
IRICHEN, VIENNA
fOMA M
The Connoisseur
Warwick, was modelled
from a suit made by
one of the Missaglias.
He points out that the
Earl is known to havi
been in Italy and to
have taken part in a
tournament at Verona
in 1408 when Petraiolo
Missaglia was courl
armourer to the l»uke of
Milan. A comparison
of the VVarwii k
with the two drawings o!
the suits at Vienna will
show that Tin- tl
not put forward with-
out 1 grounds. In
addition to this, the
fact of the strong
.i, 1 between
the armour shown on
the effigy and on the
■ oi Mantegna
makes it practically
certain that al ai
it was of North Italian
make. Mantegna was
born in 143 1, the Earl of
Warwick died in i439>
and his effigy was put
up in 1454. so that it
seems clear that the
must have been
painted from a suit
which was mad
the last years ol thi
.1 k's life
and kept possib
'• property" by
: as an example
• craftsmanship.
Atany rate, the similarity
nking as to be
worthy of notice.
! i made by
i No. vi.) bears
No. IX. to : as ONi •
needed
{Brit. Mus., Cot. MS.,
Julius E. IV.,fol. 212b).
In the year 1565 the
Missaglia family peti-
tioned that the con-
demnation of Gio Anto-
nio, one of their number,
for homicide, should be
rescinded. Anne of 50
scudi, or three strokes of
the whip before the in-
quisitor, was the sen-
tence passed on him,
and the family offered
12 scudi or one stroke
of the whip. This miti-
gation of the punishment
was refused, and they
were forced to pay the
whole sum. In 1573
the State Archives of
Milan record the name
of Count Antonio Mis-
saglia. Whether the
homicide and the Count
are the same as the
famous armourer we
have no definite know-
ledge, but the various
records quoted, when
compared with those of
that lawless master-
craftsman, Benvenuto
Cellini, suggest that not
only honour but also in-
dulgence were granted
to men whose services
were of so much use to
the State.
The Negrolis were an
offshoot of the Missa-
glias, and seem to have
altered the original
spelling of the family
name of Negroni, for
we find them recorded
under both spellings.
Vassari writes of Philip
Negroli that his work,
especially in respect ol
ili family, decorating armour, was
'- PARIS « .1 Known that it
no detailed description. [To be
^
1 «?
i
,
LOUISE MARIE ADELAIDE
BY MADAME VIGEE LE BRUN
.1/ Versailles
H UIKIN. IH C 1 1 ! ; S S I . IMiK'l.i: \\s
Pottery and
Porcelai
Pratt Ware
By G. Woolliscroft Rhead
Certain jugs of slightly cream-tinted earthen-
wai . glazed with a bluish glaze, bearing modelled
ornamentation of subjects connected with the sea. and
coloured under-glaze, have fur some time past been
known to collectors under the more or less vague term
of " Pratt " jugs. The examples are almost invariably
unmarked : and up to the present no sufficiently
definite information as to their authorship has been
forthcoming. As a consequence, pieces appearing al
intervals in the different sale rooms command com-
paratively low prices. As a matter of fact, this potter
is not nearly appreciated as much as he deservi - to
lie, inasmuch as he may be said to be the one
Staffordshire potter whose work bears any affinity
to that of the great Italian Maiolicists, in so far that
the modelling is vigorous and full of character, and
the colour palette the same restricted one of the
Italians, viz., a cobalt blue, a green of fine quality,
a rich orange, and brown.
It must here be remarked that these pieces suffer in
reproduction by photography: the work, although
based upon form and relief, is conceived from the
colour standpoint, the colouring, therefore, in transla-
tion, often appears ruder and coarser than it really is
upon the ware,
the colour value
being nei i 5-
saril y lost or
somewhat dis-
torted.
A rare marked
example in the
possession of
M i . A . E .
Clarke, of Wis-
bech ( I I on i
whose col-
i on all the sailor and sweetheart ji
accompanying illustrations are taken, with the excep-
tion of the ornamented teapoy ami the examples from
South Kensington), is impressed upon the bottom
with the word " PRATT " in capitals. It enables us
to identify with tolerable certainty the various classes
of this interesting ware, which may be placed under
live different heads, viz. : ( i ) Subjects connected with
the sea, of which a typical example is the marked one-
above referred to, the subject being The Farewell and
The Return. On the one side is a sailor bidding
adieu to his sweetheart in a field ; his ship in the
distance; and on the other he is coming ashore and
hastening to meet her. This same subject appears
also on other jugs in various collections (unmarked),
with varying borders and accessories. Other pi i
this class are the "Nelson and Berry" jug, with busts
of the two naval heroes, their ships between. This
and other pieces have been imitated by less important
potters, the modelling coarser, and the colouring ruder
than the originals, — an example is extant with Captain
Hardy substituted for Captain Kerry; the Duncan
jug, with portrait of Admiral Duncan, who defeated
the Dutch Admiral De Winter off Camperdown in
1707 ; the Jervis jug, with bust of a naval officer, in-
scribed " Lord
J a r vis " ; the
U ellingtonand
1 1 ill jug : and
the Duke Of
York jug, with
group on re-
verse sid ol
"Hercules
slaying the
M
(2) Pastoral
Subjl els, as the
line Unit dish
77/ e Connoisseur
in the South l. n in ; on coll i tion, which is alto
one of the most i h irming i samples of the art of this
ing p iti i. On eithei side ol a growing vine
appear a shepherd with < rook and spotted dog, and a
girl gathering fruit, the sentimental interest being
nparted bj a winged figure of Cupid in a neighbour-
ing tree, accompanied by a dove. The subject is
i ,,n thi opposite side with, on the one side
i moon, with seven stars,
01 ■• field " of thi piei b ing occupied by
i epand lambs, and shepherds' crooks. The handles
are formed of a vine branch throwing off leaves and
fruit. 'I he pi :ce is Orcadian in its naive simplicity :
coloui i mployed are the four colours character-
istic ol Pratt's work. Another example of ties class
is the characteristic little jug in the Bethnal Green
Museum, on the one side of which is a farmer pursuing
a fox running away with a goose, and on the reverse
the farmer's wife is letting loose the dogs.
(3) Caricatures of the extravagant head dresses of
the period of 1775 and later. These usually appear
on small flasks, teapoys, etc., and are also in relief
1 oloured. The two teapoys illustrated are examples.
(4) Purely ornamental pieces, painted on the flat
surface of the ware, as the little teapoy and flower
holder illustrated, the character of the ornament
somewhat resembling Rouen ware. It will be noticed
that precisely similar sprig ornamentation appears on
the side of the teapoy with the two grotesque figures.
his also occurs on teapots bearing subjects in relief.
Pratt Ware
.'ER HOLDER WITH PAINTED ORNAMENT
--RUIT DISH VICTORIA AND ALBERT MUSEUM
(5) Figures, of which Pratt made a number, and
which, although unmarked, may be readily identified
from the similarity in the character of the modelling
to well-authenticated examples, and from the peculiar
quality of their colouring, as Pratt may be said to
be the only potter of that period who remained
uninfluenced by Wedgwood's methods, and adhered
consistently to the under-glaze method of colouring.
Examples of these are — the group of "umbrella
courtship" (No. 1643 in the Willett collection at
Brighton), in which the same sprigged ornament is
seen on the dress of the girl; the jug in form of
a sailor seated on a chest. No. 297 in the same
collection.
In the Mayer Museum at Liverpool is a teapot
with the usual raised ornamentation, and with panels
of painted land-cape executed in the free manner of
the old Delft. Two examples are given, which,
although rude in execution, possess that line percep-
tion of style characteristic of this potter.
Pratt was imitated at Herculaneum, Newcastle and
Sunderland, hence the mistake collectors have made
in assigning genuine Pratt specimens to these plai es ;
in every instance these imitations were poorer in
character. Several pieces made at Herculaneum occur
in the Liverpool Museum.
Other pieces which may be identified with this
potter are the "Wellington'' jug. with equestrian
portrait of the great Duke, and a military trophy on
the reverse side (collection of Mr. Frank Freeth) ;
the "Miser and Spendthrift" jug. the spendthrift
hugging ,1 bottle, and the miser clutching a bag of
gold; the "Parson and Clerk" jug, the parson
standing with long pipe 111 his hand, the clerk seated
peacock j re
1 I. I MUSI cm
TEAPOT WITH FIGURE KNEELING AT AN URtN
fEAPOT, "LOVE AND LIVE HUl'A'i
rl-.M'Or Willi TAINT II) I.ANDSC
/V<//7 // 'are
[III MEUU1.1HS OF
SPORTIVE INNOCENCE AND MISCHIEVOUS SPORT
smoking, on the reverse side a drunken peasant at
a table holding a mug in his hand ; the "Sportsman"
jug, with figures ol three sportsmen with guns, dog,
and hare-,; the "Debtor and Creditor" jug, with
medallions of debtor on the one side and creditor
on the reverse. A leading characteristic of these
"Pratt" jugs is the zig-zag or pointed borders top
and bottom, the plain zig-zags being often alternated
or entirely replaced by acanthus leaf decoration.
This occurs in its various forms on a number of
specimens.
To the Pratts must be attributed many of the
mugs, jugs, etc., formed of the heads of smiling
satyrs garlanded with the vine, as also some "Toby"
jugs in the Willett and other collections, in which
the colour combination and quality are particularly
These potters also employed transfer printing. In
the Victoria and Albert Museum is a pint flask with
a beautifully modelled figure of Nelson in relief,
coloured, on an ornamental ground of blue transfer,
marked 1). R. at the bottom in blue (illustrated).
Of the history and personality of the I'ratts very
little is known— scarcely anything can be gleaned
from the pages of either Shaw, Jewitt, or Chaffers
Felix Pratt married one of the three daughters Ol
Thomas Heath, who was potting at Lane 1'elf in
ryro; the two other daughters married the potters
Palmer and Neale, who so freely pirated Wedgwood':
productions in the latter pan ol the eighteenth cen
tury. Pratt's manufactory was built on the site ol
'I homas Heath's pottery at Lane Hell (now Middle
Fenton).
In an interview recently accorded to the writer by
the present representatives of the Pratt family at
Fenton, the following information was forthcoming: —
That the Pratt family have no records of their
predecessors beyond the grandfather of the present
Messrs. Pratt, born 17S0 and died iSdo, conse-
quently too late to be the author of the pieces
under consideration, which, roughly speaking, cover
the period between 1775 and 1810 ; and that he
considered himself a better potter than was Josiah
Wedgwood. That there have been six generations
of Pratts potters. That all the members of the
Pratt family have- been excellent colour makers ,
10 SPORTSMAN jr
39
The Cottnoisseur
this, doubtless, accounting for the fine quality of
colour we find on Pratt ware. Further, the Messrs.
Pratt corroborated the information given above with
respect to Felix Pratt and Thomas Heath.
The factory is still in existence, and at present in the
occupation of the Rubian Art Pottery Co.
The successors of Felix Pratt have continued the
production of pottery to the present day. They
n ol William Pratt appears in the list
given b) Chaffers from .1 map in the Staffordshire
Pottery Directory, Hanley, [802, as potting at Lane
Delf. This, however, is another branch of the family,
ION 1'OKTRAIT
initiated amongst other things a system of transfer
printing in several colours (under-glaze), for which
they were awarded a medal at the Exhibition of 1S51,
and which is still produced.
PRATT
DR
tsc£U£P£ou$
Some Knitting Implements of Cumberland and Westmorland
By J. C. Varty=Smith
To those living in the Midlands and the
South of England the subject of this paper will no
doubt be puzzling, and the accompanying illustrations
may at a first glance be taken for instruments of war-
fare used by some savage tribes. They are, however,
innocent and useful instruments of industry, which
were among the belongings of our grandmothers and
their fore-elders of the eighteenth century.
The u^e of knitting sheaths or sticks, once very
common in the Holder counties of England and
Scotland, is now almost a thing of the past.
The art of knitting cannot be called old in
. . . .
i
is one of .'■
,1
■
V//C Connoisseur
comparison with other
textile industries. No
mention is made oi il be
h century.
An -V ■ < il Parliament
(Hen '. 1 1 . i :
of knitted woollen caps.
And again in another
■ 1 ■ I . ' 5 5 3 I.
"knitte peticotes, knitte
and knitte hose " are
enumerated.
These artii les must
j luxuries.
History relates how
Mi Mo ta lie, Queen
th's silk woman,
II i Majesty
with a pair of black silk
orth she never wore cloth any The Scotch claim the inv
mon . some authorities to Spain
Stockings, evidentl) much prized articles, are Scotch base their claim on
also mentioned as forming part of the wardrobe of son of a Scotch king, being
oj
„i,i family •
lana
Edward IV. Henry VI 11.
also wore Spanish silk
stockings on rare occa-
sions. On the authority
of Stow we find that the
Earl of Pembroke was the
first nobleman to appear
in knitted stockings.
The art of knitting must
have been becoming more
general in Shakespeare's
time, for mention is made
of it in some of his plays,
and as if it were no rare
accomplishment. For
instance, in the " Two
Gentlemen of Verona,"
knitting is given as one of
the qualifications of Silvia,
the beloved of Valentine,
ention of knitting, but by
is the honour due. The
account of St. Fiacre, the
chosen the patron saint
■ litalh of it
,i,;i l-y
•si's 4 s'|
F?1 ^1 ^ ;
■■X-
-^
8 ~ " - %.- I -S ^? ^ C
The Connoisseur
■ , ;
and the other it
lild ol French tocking ] nitti i - in Paris about
i] [527. There is a tradition in the Shetland
cuei ' rom the Spanish
aught the inhabitants the art.
Whether knitting sheaths and sticks were used by
ry early workers it is difficult to say. The
writer has been unable to find any printed n ;
of their use, while oral traditions date them uol
■ eighl nth 1 ntury.
i 1 : used extensivi ly by the Scotch and
knitters, and that many specimens are to be
in the land- ! \ tmorland and
ittle surprise when the almost
ing i whii li were knitted for
sale in those parts during the end ol the
ition.
immortalised th ■ 11a 1 ol L)i nl
Oi :
olson and Burn, it is stati 1
■
1 il market was 1.000 pai
1 1
1
occurrence during the winter months for friends in
the dales to meet together at the house of a neighbour
and have a knitting "go forth,'' as it was termed, the
workers sitting round a log fire knitting, while
someone read aloud or told a story.
Henry Brougham, delivering his election address
in Ravenstonedale about the year 1S20, prior to his
elevation to the position of Lord Chancellor, noticed
that nearly all the women and young girls kept busily
plying then needles while listening to his discourse.
I le humorously remarked at the time that he thought
the name of the place should be changed to
Knittingdale.
Knitting sheaths and sticks have a hole at one end
in which to place one o! the needles when knitting.
ath was kepl in position on the right side- oi
the user by being slipped mto the waistband, 01
und the apron string. In the most
■ . ■ 1 le quill or metal
d between pieces of cloth or flannel,
and tins was pinned to the dress in the same position
as the larger sheaths.
10 artii le lias so much sentiment attached
to ii as the old-time knitting sticks of out fore elders.
They were often the work of the village youths as
Some Knitting Implements of Cumber/and and Westmorland
presents to their sweethearts. The decoration chiefly
takes the form of chip-carving, all done by the pocket-
knife. The metal sheaths were no doubt made in
the evening at the village forge.
Sheaths usually show the initials of both giver and
receiver, sometimes accompanied by date, 1722 being
the earliest known to the writer. Besides being
carved, a few may be seen inlaid with ivory, metal,
or mother-of-pearl. They take many forms, as will
be seen by the illustrations.
The ball of yarn or " clue " was in some instances
placed on a metal hook on the right side of the
knitter, the ball being re-airanged on the holder from
time to time as the wool was worked off. The point
of the hook in one will be seen to be bent back, in
order to prevent the ball from coming off too readily.
'1 hese " clue holders " were made in various shapes
and sizes of brass and iron ; they are now scarce and
rarely to be met with.
Another old-time device was a wooden pin on
which the yarn was wound, called a "broach,"
pointed at one end and broad and flat at the other,
which was inserted inside the shoe ol the knitter.
In Dong., Virgil 273, iS, we have the term
" broach " used : " Hir womanly handis nowthir rok
of tie ne spyndis vsit nor brochis of Minerva Ouhilk
in the. craft of claith making dois serve."
As a foundation fur the ball of yarn another idea
was followed. The windpipe of a goose was taken
and made into the form of a ring, the hollow ends
slipped into one another, but before doing so a few
dry peas were inserted, the whole when chy forming
a rattle ; on this the yarn was wound. If the ball
was lust, its whereabouts was then made known by
the rattling of the peas, as knitting was generally
resorted to in the evening, when feeble rushlights and
home-made dip candles were in vogue.
'I he scimitar-shaped sheaths were without doubt
the earliest forms used ; these were followed by the
straight, fancy and spindle form, concluding with
the smaller heart-shaped varieties, the latter being
fastened upon cloth with edges broad enough to pin
to the dress. Metal tubes and goose quills placed
between red flannel are the most modern, and may
sometimes be seen in use at the present time.
These North Country knitting sheaths may be
classed with the carved Welsh " love spoons " of
the eighteenth and early nineteenth century. These
spoons have broad, elaborately chip-carved handles,
ornamented as a rule with hearts and similar symbols.
Sonic of the more prized ones have double bowls
issuing from one broad handle, no doubt typical of
unity of heart between the giver and receiver, and
signifying "we two are one." A representative
collection of these spoons may be seen in Caidiff
Museum.
New
National
Gallery
Purchase
The trustees ol the National ( lallery have acquired
from M i Ernesl Brown & Phillips the well-known
painting April Love, by Arthur 1 [ughes.
This work was painted in 1856, and
Hi.- most notable examples ol
the pre Raphaelite movement. It has
in the possession
ol Mr. II Hi. Boddington, of YVilmslow, and has
recently been <>n exhibition
at the Leicester Galleries,
Square.
.7 Love Ruskin
wrot " Exquisite in every
way ; lovelj in colour ; most
subtle in the quivering
n ol the li|is, and
I
n like a leaf by
1
I ure will shortly
in the National
Gallery of liriti-h Art.
:
A Charles II.
Lambeth
Delft Plate ""<
busl ol
I . by Dwight, at
William ,:
■II I'llll 1 ll'S
is a comprehensive one. Not the least interesting
to the collector is the series of Delft plates and
dishes made at Lambeth, and beating the effigies of
Charles I., Charles II., and James II. upon them.
Although portraits of Charles I. appear in this series
of dishes (usually about 13 inches in diameter), they
are nut contemporary, and were probably not made
at Lambeth until after 1670, and they were evidently
made in pious memory of
" King 1 li.irles the Maim ."
'These and the crude
" blue dash " chargers or
dishes with the blue dashes
clumsily applied around the
edge, and sometimes, be it
said, in brown instead of blue,
often have dates and initials.
The trees and foliage, if any,
are usually done with a
sponge hastily applied.
The dish here illustrated
represents Charles II. at full
length in his regal robes,
wearing .1 1 row n. antl carrying
tin- orb and sceptre. The
portraiture is of the .rudest,
and hardly rises above the
king on ,1 pack of cards.
In point ui evolution these
royal portraits sui 1 ei 7 d the
oi loft in his
dishes ol slip ware. But to
the 1 ollei ioi they arc of
1. as they
• v denned pei tod
in English ea rt hen wa re.
I he} follow tin- drug pol
and the dated sack-bottle,
although Dellt was made
Notes
Napoleonic
Snuff-Box
in England, at Bristol and
elsewhere, [up. to the
middle of the reign of
George III., these dishes
with mval portraits lie
between 1670 and the
opening years of the reign
of George I., that is to
saw roughly, a little over
a quarter of a century. —
A. H.
This box, set with
brilliants and a portrait of
Napoleon,
was given
b y t h e
Emperor Napoleon of
France to the Hon.
Anne Seymour I lamer as charles 11.
a "souvenir" — the word
he used in consequence of her having presented him
with a bust of Mr. Fox executed in marble by herself.
The bust had been promised at the "Peace of
Amiens," was finished 1S12 and sent to 1'' ranee, where
it remained, but was not presented till May 1st,
1815, when, by command of the Emperor, Anne
Seymour Darner had an audience for that purpose at
the Palais Elysce, where the Emperor then resid
It was bequeathed to the
British Museum by Mrs.
Damer in 1828.
The Holy Family, by Van J
Dyck, which we reproduce as MA
our frontispiece,
Our Plates is one of seven
works by Ru-
bens's illustrious pupil in the
Rodolphe Kami Collection.
As regards tonus and types, it
recalls Rubens, but the lu-
minous tone of the brilliant
colour is derived from Titian,
before whose works the young
master's art istic sense had
taken on still greater refine-
ment. The little naked figure
of the Infant Jesus on his
mother's lap, his fresh and
exuberant life restrained fur a
moment by the gentle bunds
ol sleep, is a delicious creation. SNUFF . BOX PRESE
The Virgin, in a dark blue by the emperor
gown and cherrj coloured
mantle, has a grace ol
expression and a bi autj
of movement which sug-
gest Murillo, under whose
name, indeed, the picture
was for some time known
in the market. The St.
roseph, who gazes h a\ n
ward with di ep emotion,
betrays the study of
Tintoretto in his dis-
ordered white beard, his
brownish carnations, and
his brilliant yellow mantle.
The canvas measures
39 inches by 36 inches.
The portrait of Louise
Ma/ic Adelaide de Bour-
jeth delft plate ion, Duchesse d'Orleans,
which we reproduce in
colours, ranks high amongst the many fine portraits
executed by Madame Vigee Le Brun, the intimate friend
of Marie Antoinette, whom she painted no fewer than
twenty-five times. The daughter of a portrait painter,
Madame Le Brun was born in Paris in 1755. Quite
early in life she displayed evidence of artistic talent, and
rei eiving lessons from Davesne and Briard, her reputa-
tion was establish- d before she had reached her twenty-
fifth year. Many distinguished
personages were subjects for
her brush, amongst them being
members of the French Royal
Family, Madam-- de Stael,
Madame Catalani, La Bruyere,
and Abb,- Fleury.
The plate- on the cover of
the present 1111 nber is a repro-
duction of Henry Morland's
well-known work. The Laundry
Maid, in the National Gallery.
The special plate ol Mrs.
Hoare andChild, by Sir Joshua
Reynolds, presented loosewith
this number, is well known to
all visitors to the Wallace Col-
in 1 766,
r Jos
at nit
The Connoisseur
In his recent addition to the pewtei collectors
increasing library Mr. Christopher Markham addresses
himself mainly to the consideration of
:er Marks &f , Min|rU , Mt com plex subject of
Pewter Marks, and while covering
much ground previously traversed by
Mi. Charles Welch in his History of
the Pevterers' Company and by Mr.
M asse"
and Old
Pewter Ware
By
Christopher
A. Markham,
F.S.A.
(Reeves and
Turner,
London 21s.)
i"
in his
Pewter
Plate,
its
■
nformation in
md moi e i on
form, but, as
onsider-
an h, provides
M r-lover with
fresh and interesting
throwing ad-
i
tain points, which
■in.it ely must
main to a largi
extent obscure.
The small number
ol dated touches n
i
any yearly dal
to that on silver, and
which the n i ording i >l
must alw.r
diffii nil to do more
date Ol the majority of
o
marks, and well - foum ons as to the
hes initials only
d in his
i
o
brief but
i
i pair and
I
and Mr. Markham
Sl'OOS KACt
cleaning ; but we think a comparison between many
well-tended private collections and the uncleaned
specimens in certain museums will suggest that the
discreet cleaner is probably wise in his generation,
and incidentally earning the gratitude of future
ones.
In the chapters devoted to the enumeration of the
various articles for domestic and ecclesiastical use pro-
duced by the pewterer
the author confines
himself within narrow
limits, touching briefly
on the various articles
in illustrated notes.
The selection of
objects requisitioned
for illustrating this
section of the book
has not invariably been
happy, and the photo-
graphs of Britannia
metal College " Pots "
used in connection
with the brief notes on
tankards might, with
advantage, have given
place to others of such
fine representative
pewter tankards as are
included in many well-
known col 1 ect i ons,
notably in one famous
series in Worcester-
shire, to which the
author has apparently
had access.
Britannia metal is
admittedly akin to hard
pewter, but the excel-
lent productions of
Dixon, of Sheffield.
in that metal are not regarded seriously by seekers
aftei old pewter.
The illustrations from photographs and drawings
an numerous, and often interesting, but we are
1 to think the appearance of the book would
I fullei reliance on the cam ra.
Apart from the drawbacks referred to, Mr.
Markham i to I igratulated on placing at the
\ olume winch must command
the attention ol those interested in the stud; ol
tainted with the works ol such
an adm on kindred subjects.- - W \i 1 1 R
. 1 1 117 F N I 1 1
Notes
The English edition recently issued of Mr. Frank
Weitenkampf's How to Appreciate Prints makes a
welcome addition to the collector's
How to
te Prints
bookshelf. It is a volun
diich,
Appreciate j-nnis wr j tten w j t h a s i n gl eness of purpose,
By Frank ^ . g wel , ca]culated to serve others
_ eI „. , , The author endeavours, bv enlisting
(Grant Richards, .
,. . the reader s interest in and sympathy
7s. 6d. net) . , , .
with various artists aims and their
methods of work, to kindle within him a desire to
possess the fruits of their labours. But in so doing
he contrives to impart a good deal of technical infor-
mation which many who pursue this fascinating hobby
have not acquired. Practically the whole range of
collecting has lately been traversed by popular hand-
books which yield the amateur collector all the knowledge
necessary, next to practical experience, to enable him to
follow one or other of the branches treated. These
manuals, however, admirable as they are, premise a
certain knowledge of the subject on the put of those to
whom they appeal, and an inborn desire to make that
subject their own. The title of the volume under review
is a sufficient indication that its author had no pre-
conceived notion of this kind, but that he appreciated
the intricacy and the initial difficulties of a subject, the
name of which often suggests to the lay mind a mere
mechanical process in which an artist's individuality has
no place whatever. But it remains a work which every
collector should find helpful. The various processes of
etching, dry-point, line engraving, mezzotint, stipple,
colour-printing and lithography, are all explained with
graphic completeness, to which numerous illustrations in
half-tone of typical examples lend their aid.
Not the least noteworthy feature of the book is, that
it does not attempt to regard the work of producing
" pictures in print " as an art that existed only in the
past, but instead, it contains a careful survey of the
whole sphere of engraving, displaying the same sym-
pathy with the workers in lithography and the modern
photo-rnechanical process, as with the early artists in
woodcut and etching. It is, too, of great practical
advantage to the student that each chapter deals with
one subject only, and is quite complete in itself, so that
it may be read, if desired, independently of the res: of
the volume.
Having told the reader everything about the various
methods of technique necessary to secure his apprei iatii >n,
Mr. Weitenkampf proceeds to give some useful hints
about collecting, hints that apply more particularly to
the art-loving amateur who is desirous of building up
a collection from an artistic standpoint, rather than to
one whose main idea is to secure a good financial
asset. However, as he states, " If the two coincide, all
the better.'' The chapter on "The Making of Prints"
will undoubtedly be found most useful by the amateur,
who too often is bewildered in the matter of "States."
The information given here should make it comparatively
easy for anyone to judge a print intelligently. Finally,
the book has a well-tabulated index for reference.
E. S. S.
WHEREVER there exists an understanding and a love
of scientific work, of the throwing in of hypothesis an ong
accumulated data- and the resultant
A New Light vision of these data interpreted and
on the related, intelligible parts of the develop-
Renaissance ;„<, picture of life— Mr. Bayley's book-
Displayed in m Afedi&val Paper Marks will find
Contemporary we]conle .
Emblems Whilst several writer- have thrown
By Harold
Bayley
(London :
J. M. Dent
and Co.
2/6)
passing glances at the available facts,
and have hinted at a possible harvest
of en
this
nent, there has been, until
present work, no book on the
subiect of the water-marks in paper
excepting Monsieur Charles Briquet's monumental
dictionary, Les Filigrancs, appearing in Paris two years
ago, comprising over ten thousand facsimiles sorted and
classified, incidentally accompanied by a repudiation of
any idea of coherence in these signs.
It has been left to Mr. Bayley to complete the process
of investigation, to look at this mass of material in the
light of a suspicion, to use his scientific imagination upon
it, to carry back the abstracted facts to their setting, to
trace their origin, patiently to study the milieu of their
development, and to see them at last n<> longer arbitrary
and meaningless, but real and living, playing then-
coherent part.
And in this pleasant, leisurely volume, with its attendant
troop of charming illustrations, he takes us to look with
him at the setting whence these signs emerged— back to
the heart of the Middle Ages, on joyous errand of trial,
whether the picture, already so rich, will accept his
proffered embellishment— back to medkeval Provence
standing in sharp relief, with its ominous precocity,
against the dark background of the rest of Europe, a
radiant country, home of troubadours, of lovers of art
and literature, cherisher of legend and romance, and salient
bulwark of heresy, attracting the persecuted from all
quarters to bring their intelligence and industry in various
enrichment of its fair burgeoning.
Down amidst its surging life, in amorigst the craftsmen
of the little towns and villages, our guide cries a halt and
bids us watch the lives and thoughts of the strong ones
into whose hands the skilled labour of Provence fell and
flourished, the Albigensian heretics who watched over
the cradle of European paper-making, little colonies of
craftsmen living round their mills soberly in the fear of
God, perpetually at warfare with the official custodians of
Christianity. It is largely upon the opinions and the
lues of these men and their relation to the troubadours,
the Nonconformist press of the day with their unorthodox
Grail legends, their mystic romaunts and songs, that the
evidence for Mr. Bayley's belief in the deliberate and
ed significance of paper-marks rests— upon that
and upon the internal support from the la< t of the gradual
modification and embellishment by the Albigensian
,:.,:! men of the Grail and Romaunt emblems which
|Ui litis- in watei marks, modi!
embellishments not merely of the design, but of the idea,
: i t,, prove thai the makers wer< isi ious of the
The Connoisseur
underlying symbolism as a persistent force remaining
unbroken, moreover growing and expanding after the
descent of the Papal Crusade on the Provencal heretics
in 1209, when the whole land was silenced by the sword,
and the scattered Albigensian refugees spread over
like a leaven, appearing under the guise of
the Brethren of the Common Life, Hussites, Lollards,
Brethren of tin Homines Intelligence,
Franciscans, founded by the e\-troubadour St. Francis
1 riend of God, and Waldenses. "So honey-
ts our author, "was Europe by these
erel
a Walden
ti im Antwerp to Rome
could sleep every night
a: iIm house of a fellow-
believer."
Through cha]
where we may
watch the youth ol papei
making and printing, a
bright under-world of tin-,
■ flit, and life,
■ 1 ret tip'
sturdy warfare for the dis-
enthralment ol I
Mr. P.a\ ley marshals hi ^
. anil turns to
US at last, his p
his li[i-.
ing forward to 1
w hen these things
the light
mimon -la y a n d
naissan ce had
It is < 1m actei istii "t
behind .1 ;poke ;m in
and almos
Turning the tears o
Decking the earth
The sinking storm-
night to joyous gems,
ith radiance, 'broidering
louds with a golden hinge.
scarcely room t"i
bly, tiir
in the Eas
[
Whether or no we agree to accept all Mr. Bayley's
deductions, to land unconditionally at the port where he
would finally deposit us matters but little to the enjoy-
ment of the voyage. We may agree or dispute that
"the awakening known as the Renaissance was the direct
result of an influence deliberately and traditionally exer-
cised by paper-makers, printers, cobblers, and other
artisans, and that the
nursing mother of the
Renaissance, and conse-
quently of the Reforma-
tion, was not, as hitherto
assumed, Italy, but the
Provencal district of
France," but we are
bound at the very least
to concede that he has
done valuable and inter-
esting work in bringing to
light fresh documentary
evidence that the torch
of heresy was never
quenched.
To those to whom the
co-existence of orthodoxy
and heresy, the outrunning
of the form by the idea,
and their mutual depend-
ent e, is a constant con-
cept, this book will be a
rich rekindling — undis-
turbed by the fact that
the author does not take
this view of things, but is
an apologist for noncon-
formity, confessing him-
self 51 1 by his vision of the
medieval conflict as a
battle between white and
black with a predetermined end, anil by his necessarily
bewilderment over the fa. 1 that the official
Church hehl her own.
["he three chapters on the Invention of Printing, Printers'
tnd the ["ransference of Wood Blocks, are per-
hly suggestive. D. M. RICHARDSON.
of the 1
WHEN Rubens wa
i Philip II
The School
of Madrid
By
A. de Bcructc
\ Horet
(Duckworth
7s. 6d. net)
be painted wit
sent by the 1 )uke of Mantua to
he 1 "pied many
iasterpieces in that King's collec-
tion. The Duke wished him to be
worl 1 ian I ters,
inn Rubens svi ote : " 1 do not speak
feeling,butona ml
of the desire of Sr. Iberti, who wishes
that in a moment many pictures should
lanish painters. 1 will follow
Notes
his advice, but I do not approve it, considering the short
time we have at our disposal, and the incredible
inadequacy and idleness of these painters and of their
manner (from which may God preserve me from any
resemblance I) so absolutely different to mine."
Rubens returned to Madrid a quarter of a century
later, but then Velaz-
quez was in his pi ime,
and the foundation had
been laid for what is
now known as " The
School of Madrid."
Before the days of
Velazquez there had
been many painters in
Madrid, but they were
of little importance,
and lacked the link of
style to connect them
as members of a
School. This link was
supplied by the power-
ful art of Velazquez,
which determined for
two generations the
realistic direction of
the art of Madrid.
Indeed, the School of
Madrid is mainly com-
posed of Velazquez's
pupils, and followers,
chief of whom was his
son-in-law, Mazo. The
world-wide fame of
Velazquez, and the
eagerness of collectors
to secure examples of
his art, unfortunately
led to the attribution
to the master of many
works by his followers,
and as far back as in
the days of Cean Ber-
mudez, heads and
figures were cut out
of pictures by Antonio
Puga, one of Velaz-
quez's imitators, to be
shipped to England
and sold as originals by the master. Only in recent
years have serious attempts been made to ascertain the
authorship of many doubtful works, and to separate
the paintings of Velazquez from those of his gifted
pupil, del Mazo. Sefior de Beruete y Moret devotes
only a short chapter to the art of Velazquez, of which
little remains to be said after the exhaustive study
devoted to the master's art by the author's lather; but
Beruete y Moret's analysis of the work produced by the
other painters of the School of Madrid is a valuable
PORTRAIT OF DON TIEUE
FROM "THE SCHOOL OF
BY A. DE BERUETE Y M
his investigation upon the Family of Ma o
formerly attributed to Velazquez) at the Vienna
Gallery, and on a few authentic signed works by the
ile <'t the master's followers, the author suc-
ceeds in convincing us that Mazo is responsible tnr
inany a picture that still passes under the mine illus-
trious name, such as
the Admiral Pulido
Pareja at the National
Gallery, and the two
cms of /><>/i Bal-
ta .11 ( arlos in the
Riding School in the
Wallai e Collection and
in the Duke of West-
minster's Collection.
The personality of
Mazo en ei ges as that
of a master second
only to Velazquez him-
self, although even his
greatest achievements
show certain traces of
weakness which are
never found in the
work of the head of
the School.
The same thorough
method of research is
applied to the work of
Velazquez's talented
mulatti i slave, Juan de
Pareja, to the brothers
Rizi, to 1'ereda, Car-
refio, Cerezo, Claudio
Coello, and scores of
more or less gifted
painters of the second
and third rank, whose
\ e r y n a m e s have
been almost forgotten,
and \vhose fame has
been obscured by the
towering genius of
Velazquez. To Juan
Rizi the author
attributes an inten st-
ill" portrait of a
(DUCKWORTH
JD CO.)
has
boy in Sir Freder
jug been a puzzle
ind
jensable supplement to Beruete'
Cook's Collection,
students.
Thus, the development, or rather decline, of the
School is traced to the dying days of the seventeenth
century, when I.uca Giordano's showy and n
.kill gained the day, and Spanish art lost
its national character and seriousness m tin- imitation
ot the imported decadent Italian manner. It is stir-
that the author, in spite ol Senoi l
recently published discovery, still gives the wrong date
nt El i Ireco's birth.
The Connoisseur
Avebury
Font
The Church of St. James, Avebury, North Wilts,
is famous for its remains of Saxon and Norman
architecture. When the writer was
conducting archaeological excavations
at the great stone circle of Avebury
last spring, he secured a good photograph of the
west side of the font, of which the accompanying
illustration is a representation.
This tub font (probably intended for immersion)
is Saxon in character, with Norman ornamentation
of the first quarter of the twelfth century. By some
the bowl is regarded as
Saxon of a bo u t a.d.
ijoo, the carving
added later. It is cir-
cular in plan, with an
external diameter at top
of 30J in. ; internal dia-
meter, 25 in. It stands
41 in. high above the
floor, ol which the plinth
measures 5 in. thick, and
:stal with cham-
fered edge, on which the
font stands, 7 in. The
font is lead lined, the
in a \ i in u in internal
depth of the bowl being
The figure of a bishop,
the w e st end
of the church, is saiil
to have a nunc, now
almosl pletely ob-
literated ; a sta|
ilc- position of
the chain foi the plug of the font was fixed here,
anil has played havoc with the bishop's features for
I [e holds a book to his heart with
his left hand, and I in Ins right hand, with
which he is •■ bruising " the hen! ol ■< dragon 01
in its turn is bruising his heel
devour
I
on the bishop's left side, but this is in und
ppei pari i 1 >l
capitals, win. h is typical ol
FONT A 1 I III I in Ri 11
Sculthorpe (Norfolk), Alphington (Devon), Corfe and
West Camel (Somerset), etc.
The symbolism of the Avebury font may represent
the fall of man, and the initial recovery of his lost
estate through the washing of the water of baptism.
"An ^Esthetic Conversion" Heal & Son
An ^Esthetic Conversion is the title of a dainty
little brochure from the pen ol Mr. Joseph Thorp,
published by Messrs. Heal & Son. In his preface
the author states that "these notes are put together
and published entirely
at my own suggestion ;
that therein I have ex-
pressed my individual
judgments, unhampered
bythe usual limitations."
"This," he continues,
" should make the notes
a better guide to the
spirit and character of
this old-established and
justly-respected house of
business than the dis-
counted utterances of
the ordinary trade an-
nouncement."
Embellished with a
number of excellently-
drawn illustrations, and
tastefully bound in grey
boards, the volume is
well worthy of the per-
usal ol' those interested
in furniture thoughtfully
designed and soundly
wrought.
ST. JAMES, AVI. I
BooKs Received
, Parts V. XL. and XII., 7,1. net.
(Cassell & <"<>.. Ltd.)
St. Fran . ! • : ■■ ■ ■,:■- ,t ,t\un I.'Ail Primilifs
■ t>) Arnold Goffin. (i.. Van Oesl S Co.)
,1 1 . Mr.liun. ,,,1. (B x I. I-'. Meehan )
, bj Waltei 1 .cm Ross, 2s 61I net. (V\ 1 I Ross.)
1 . civ . 1909, X... 39, Vol. X.. by I. Y. W.
I .., F.S \.. js. 11. 1. (Alex. Mi. line, 1. 1.1.)
. fan \\ II ., by
II. I. .nni W. P. V\ righ . \
Pari XIV., by P. G.I . M. W Bro. kwell, ami F. W.
Ii\ Haldane Macfall,
I' ■ ■ I ly, is. o«l. net.
I - 1 ■ Jack.)
», i •• Vgnes 1 1, rliert, illustrated by I lonald
Mas veil, 1 1 ,hn I . in
.., Vols. I. and
[I., by I 1 ■ 1 i |ohn Murray. 1
Tht Rom ti K. J. Andei - id
■
. Old 1 Books, bj K.-v.
I : . urrtiit,
I , 111
I^Z^EZ
=fie
N®T^ ANP QU^RI^
[The Editor invites the assistance of readers of
The Connoisseur Magazine who may be able to
impart the information required by Correspondents.}
Antique Sword.
Dear Sir. — I enclose photographs of a sword
which has been in my possession for ma years,
and which apparently bears the heads of Charles I.
and his Queen. 1 should be glad to know if any of
your readers can give me any particulars regarding it.
Yours faithfully,
HERBER I l '.I'AN STONE.
Unidentified Country Hoi -i .
Dear Sir, — In the July number of 'I'm, Con-
noisseur Magazine information is required about
an unidentified country house. I think it is the
house at Haarlem (Holland), now used as a Colonial
Museum, at the entrance of the Haarlem wood. The
lawn is at the present time a deer park. In the
tenth century the house was built by the Amsterdam
banker Hope, who was of Knglish birth. He was the
founder of the well known banking-house, Hope & Co ,
still existing.
If you might take interest, I will try to get
photographs of the building in its present form.
I am, dear Sir,
Yours faithfully.
YV. Van der Tak.
Unidentified Country Hoi se.
Dear Sir.— The "Unidentified Country House"
on page 191 of the July CONNOISSEUR MAGAZINE is
Bedgebury Park, near Hawkhurst, the late residence
of Mr. Beresford Hope. It has recently been altered
by Mr. Lewis, the owner, a South African millionaire,
who bought it.
I remain, yours very truly. J. Langhorne.
ANTIOCE SWORD
The Connoisseur
Uniden riFiED Country House.
Dear Sir, — I am not acquainted with the look
oi Deepdcne, Dorking: bvit since that house was.
at the end of the eighteenth century, the seat ol
the well-known art patron Mr. Hope, I venture to
hazard the suggestion that the Country House of
winch Mr. Leggatl
sent a photo
dene.
ithfully,
F. M. Clement
ll"i Bi in'- "Sir
Thomas Mi iri .'
Dear Sir, On page
is | ol your July issue
paragraph
about Holbein's Sir
Thomas More and his
family, and the dis-
appearance of the
pii tine. A description
nf this picture may be
found m Mr. Hutton's
Burford Papers, pages
[8, 19 It formerly
il tu the Li nt-
hall family, and possibly
[., and
thence obtained by
Speaker Lenthall.
that the
fi is now '• at
i 1 Pari .
d in m\ Sir Thomas Mo
I remain
Unid
1
, , . hi which you
I III VnUI
Tune number, has been identified. It is, as I
assumed, after Rembrandt, and was engraved by
T. Spilsbury. The lettering on a print impression
is as follows : —
"A^Dutch Lady after a picture by Rembrandt in
the possession of William Baillie Esq. published
August 25th 1769 and
sold by Henry Parker
at No. 82 m Cornhill,
London.''
The proof was evi-
dently unknown to
Chaloner Smith ; but he
describes a print im-
pression on page 1.335,
No. 40.
Yours faithfully,
H. W. Brtjton.
Old English
Tapestry.
Sir, — Would owners
of old English tapestry
bearing the names of
the makers Poyntz,
Saunders. Bradshaw. or
Vanderbank kindly
send me particulars
thereof for an illustrated
book which I am com-
piling on the subject.
Yours truly,
E. Alfred Jones.
Unidentified
I'i IRTRA1T.
Dear Sir, — I shall be
glad if you will kindly
insert in The Connoissei 1 M usazine a reproduction
of the enclosed photograph with a view to ascertaining
the subject and artist if possible. The si/.e of the
canvas is _■ it. 2 in. by 1 It. 5 in. The name ol
the aitist is illegible, but the date upon it (almosl
illegible) app ars to be 1691. The picture has been
in the possi sion ol my family for very mam years. •
Yours faithfully, K. E. Ai 1 1 v
ely of the first importance,
during the concluding two
or three weeks of the
season are usually of
eel
e i ii
Sir Cuthbe
character- an omnium
gatliei it m of small
properties which have
accumulated during
the spring" months.
This year at Christie's
July included the most
important collection
Iter's — and two other
of the year
noteworthy sales.
The various ancient and modern pictures sold on
July 2nd were derived from several sources; but much
of the interest of the day was provided by three of the
four pictures the property of Mr. E. W. Parker, J. P.,
of Skirwith Abbey, Cumberland. The most important
of these was a striking version of Rembrandt's Descent
from the Cross, 55 in. by 42 in., signed and dated 1651 —
this picture has probably been in England for over a
century and a half; in 1834 it was sold as the property
of Viscountess Hampden, when it brought only .£139.
At the J. A. Beaver sale in 1840 it was bought in at
240 gns., and since that date it had disappeared from
public notice ; it was now purchased by a Paris dealer
at 7,800 gns. — a considerable advance on the previous
auction record in this country, the 6,700 gns. paid in
1893 for the portrait of the Wife of Biirgomaser Six.
Another important picture, untraced by all recent wi iters,
was Turner's East Coives Castle, the Seat of J. Nash, Esq.,
the Regatta Beating to Windward, 36 in. by 48 in.,
painted for John Nash (at whose sale in 1835 it sold
for 190 gns.), and exhibited at the Royal Academy of
1828 ; this realised 6,500 gns. The companion picture,
also painted for Nash, and exhibited at the Academy
of 1828, was purchased at Nash's sale and passed with
the Sheepshanks collection into the South Kensington
Museum. A. Cuyp, A Town on a River, sunset effect,
40 in. by 52 in., signed, 1,680 gns.; and R. Wilson,
Solitude, 40 in. by 50 in., 350 gns.
The sale included, in the order of the catalogue, the
following:— A drawing by J. Holland, The Church of
the Gesuati, Venice, 18 in. by 37 in., 245 gns. Pictures:
R. P. Bonington, View on the French Coast, low tide,
with figures, 14 in. by 20 in., 155 gns.; A. Cuyp, Rivet
Scene, with boats and figures, evening, on panel, 23 in.
by 40 in., 550 gns.; two by F. Guardi, Santa Maria
delta Salute, Venice, with gondolas, 11 in. by 16 in.,
250 gns.; and A View of "La Zuecca," with boats and
gondolas, 10 in. by iS in., 305 gns. — both from Lord
Farnham's collection, 1869. Past=ls, each 22 in. by
25 in., by D. Gardner, three children of David Lewis,
of Malvern Hall: Elisabeth, afterwards Lady Croft, in
white dress with mauve scarf, in a landscape, 300 gns. ;
Maria, afterwards Lady Dysart, in white dress with pink
bows, a dog by her side, 420 gns. ; and Da-aid Greswolde
Lewis, m brown coat, blue vest, and white breeches,
100 gns. A pastel by J. Russell, Girl with a Spaniel,
24 in. by 18 in., engraved by P. H. Tomkins, 480 gns.
Pictures: J. Northcole, Mrs. Collingwood, in white and
gold dress with red cloak, 30 in. by 25 in., 195 gns. ;
Sir M. A. Shee, Portrait of Mrs. Anna Shawe Leeke,
in red dress, with a dog on the sea-shore, 93 in. by
57 in., 100 gns. ; J. van Huysum, Flowers and Una!.
Vests, on panel, 31 in. by 23 in., 230 gns. ; F. Pourbus,
Portrait of Mary Queen of Scots, in black dress and
white head-dress, on panel, 19 in. by 15 in., 180 gns. ;
E. De Witte, Interior of Amsterdam 'Cathedral, with
numerous figures, 75 in. by 64 in., 400 gns. ; Vigee Le
Brun, Portrait of a Lady, in white muslin dress with blue
s.ish and bow, ^o in. by 24 in., 900 gns. ; Sir G. Kneller,
Portrait of John Dale of Marlborough, in brown dress
and red cloak with flowing wig, battle in the background,
64 in. by 53 in., 800 gns. ; Sir J. Reynolds, Portrait of
a Gentleman, in red coat and brown vest, white stock,
29 in. by 24 in., 180 gns. ; A. Cuyp, Portrait of a Youth,
in rich red cloak, at a window, on panel, 20 in. by 16 in.,
1. . ; J. Hoppner, Portrait of William Robertson,
in dark blue coat with black collar, white cravat,
30 in. by 25 in. ; W. Williams, Courtship and Matri
mony, 23 in. b) 18 in., 1786, a pan engraved by
F. Jukes, 300 gns.; J. Van Goyen, River Scene, with
boats, figure--, and animals, on panel, 15 in. by 23 in.,
290 gns. ; |. B. Greuze, Portrait of Jacaues Xecker, in lilac-
coloured coat and white vest, 16 in. by [3 in., 160 gns
The C 'onnoisseur
(,. Morland, The Comforts of Industry and The Miseries
of Idleness, a pair, 12 in. by 14 in., engraved by
H. Hudson, 1790, 820 gns.— this pair was presented by
George Morland to E. Collins, of Maize Hill, Green-
wich, great-grandfather of the vendor, Mr. Edward
Collins Wood, of Keithick, Coupar Angus ; G. Romney,
Portrait oj Admiral Sir John Orde, Bart., in captain's
uniform of blue coat, white vest and breeches, 50 in. by
40m., 1,680 gns.; N. Maes, Portraits 0] a Gentleman,
in black gown with white linen collar, seated in an
armchair, and of his wife, in black dress with white
lawn at the neck and on the sleeves, a pair, 44 in. by
36 in., signed, 2,150 gns.; J. Hoppner, Portrait oj a
11 white dress with black lace shawl, seated, with
1 1. 1 two daughters, 50 in. by 40 in., i,45° gns. : and
Sir 11. Raeburn, Portrait of Master Thomas Blisland,
in green dress with loose white frilled collar, seated on
a bank, 56 in. by 44 in., 5,400 gns.
'I'm. great sale of the season — one of the greatest,
indeed, for many years — was that of the collection ot
pictures and drawings of .Sir \V. Cuthbert
The Quilter Quilter, who has disposed of his house
Collection and picture gallery at 74, South Audley
Street, London. The sale was held by
Messrs. Christie on July 9th, and an illustrated account
of the collection appeared in The Connoissei r Maga-
1,1 m| that month. There were 1 24 lots, which showed
a total of ^87,790 ios., but one or two pictures — particu-
larly Holman Hunt's Scapegoat -probably did not rea< h
Mi, ri ;erves, which in all cases were declared b) the
auctioneer to be small. The sale was regarded .1^ a
most successful one. and the prices higher than had bei n
anticipated. The popularity of several of the artists
who e works an represented in tin, sale 1-. no longer
wii.it it had b< en : there was consequi ntl\ .1 1 mi uli 1 . 1 1 ■ l<
mat [in 1 «1 •-. een pasi and | ti pi ii es I he lo ; in
1 in, n, howevei . wa 1 ounterbalani 1 d b] I
thi cot i valui , ,i 11 ime of the other
■
sale. Water-colour drawings, English School: Ford
.1 ' 1 Brown ■ Foscari, j; in. bj 24 in., 1S70,
260 gns. — from the F. Cravei ale, ll
the chain
; C 1 ielding, Si ot h Mountain
en Ma/ee, with mist, 17 in. b) \; in.. 184,1,
he 1 umner sale, 1
A. C. < ■ /. onists, 19 in.
225 gns. ; S. Prout, Milan, a \ 1
fi ures, 20 in. by 27 in.,
! I l,. \\ ml.
On the River Arun, 17 in. 1 oni nental
-
Door,
■
with a Howl of Soup, 1
A. M.iuv,, Land p unaer
some frees, 12 in. by 8 in., 200 gns., and Peasant Girl
and Five Cows, 6 in. by 12 in., 225 gns.
Modern pictures, Continental School: C. Bisschop,
The Crown Jewels, a portrait of the son of Sir Henry
Howard, K.C.M.G., in a page's dress, and holding a red
cushion on which are a coronet and jewels, 47 in. by
31 in., 150 gns. ; P. J. Clays, A Calm on the Scheldt,
panel, 24 in. by 43 in., 1867, 320 gns.— from the
S. Plummer sale, 18S2 (300 gns.) ; J. B. C. Corot, Souvenir
,/e la Villa Pamphili, 15 in. by 21 in., etched by Lalanne,
1,350 gns.; C. F. Daubigny, Les Laveuses, a view on
the River (Use, panel, 15 in. by 26 in., 1873, 1,550 gns. ;
N. Diaz, Venus and Adonis, in a landscape accompanied
by < upids, on panel, 17 in. by 14 in., 800 gns. : E. Frere,
The Young Student, panel, 10 in. by 8 in., 1877, 115 gns. ;
C. van Haanen, Trying on the Ball Dress, a scene in a
Venetian dressmaker's workroom, 28 in. by 17 in., 1884,
100 gns. ; H. Harpignies, Poplar Trees at Herisson,
17 in. by 14 in., 170 gns. ; E. Isabey, The Favourite, or
My Lady's Parrot, panel, 13 in. by 10 in., 280 gns.;
two by J. Israels, Watching the Cradle, 30 in. by 24 ins.,
2,250 gns. : and Children of the Sea, panel, 9 in. by
13 in., 450 gns.; Franz Van Lenbach, Portrait of
Signora Eleonora /'use, the actress, in brown dress
with white sleeves, oval, 32 in. by 28 in., 1886, 560 gns. ;
Baron H. Leys, Martin Luther reading the Bible to his
Companions, on panel, 27 in. by 41 in., 1865, 560 gns. —
from the C. Kurtz sale, 1880(1,150 gns.); J. F. Millet,
leune Fille atlrapee par des amours, panel, 25 in. by 10 in.,
600 gns. ; M. Munkacsy, The Two Families, a lady and
her 1 hildren in an apartment, feeding some puppies, panel,
16 in. by 23 in., 270 gns.— the original study for the
Academy picture, and from the sale of W. H. Michael,
1887 (510 gns.); and Hermann Philips, A Musical
Reverie, panel, 32 in. by 25 in., 160 gns.
English School: K. P. Bonington, The Grand Canal,
Venice, 8 in. by 11 in., sketch for the large picture,
j6o gns.— from the Novar sale, 18S0 (100 gns.);
Sir E. Burne-Jones, Green Summer, group of eight girls
seated upon the grass listening to a story which one of
them is reading, 26 in. by 42 in., 1S68, 320 gns. —from
the W. Graham sale, 1886(500 gns.) ; J. Constable, West
End i ields, Hampstead, noon, 13 in. by 20 in., 600 gns.
from Capt. C. G. Constable's sale, 1887 (2S0 gns.);
] 1. ( ox, 1 Outskirts of a Wood, open moorland at thi 1 dgi
vood Forest, 27 in. by 35 in., exhibited at the
Academy, 1845, 1,650 gns from the E. C. Pottei sale,
18S4 (1,350 gns.); J. Crome, A Squall o[f Yarmouth,
20 in. by 32 ; H. W, II. Davis, Loch Maree,
cattle and heep in thi foreground, sunset, 9 in. by 19 in.,
1SS2, 1 10 gns. ; Keeley Halswelle, Shooter's Hill, Pang-
; in. by 24 in., 1879-92, 245 gns.: S11 II. Von
llerkoniei. The Last Muster: Sunday at the Royal
, Chelsea, 82 in. by 6i in., 1875, engraved by
A. I inn II: frequently exhibited, winning the mddaille
Phonneur at Paris in 1878, 3,100 gns. ; \V. Holman Hunt,
! in. by 5 1 in., painted at 1 )osdoi mi, on
1 m, rusted shallow oi the I '1 ad
I oyal Ai ademy, 1856, and
ed by C. Mottram fron three pre\ ious
In the Sale Room
sales: B. G. Windus, 1S62 (475 gns.), J. Heugh, 1878
(4S0 gns.), and Sir Thomas Fairbairn, 1887 (1,350 gns. :
Sir Edwin Landseer, Scene from the Midsummei \
Dream, with Titania and Bottom, fairies attending, Pea
blossom, Cobweb, Mustard-Seed, Moth, etc., 31 in. by
52 in., painted for J. K. Brunei's Shakespeare Room,
exhibited at the Royal Academy, 1851, and engraved by
S. Cousins, 2,400 gns. — from the Brunei sale, i860
(2,800 gns.); Cecil G. Lawson, The Doone Valley, North
Devon, 41 in. by 53 in., from the Royal Academy, [882,
2,250 gns. — from the B. Priestman sale, 1896 (550 gns.),
and the C. A. Barton sale, 1902 (1,638 gns.) ; two by B. W.
Leader, both exhibited at the Royal Academy, 1883,
and engraved by Brunet Debaines, Parting Day,
43 in. by 71 in., 1,200 gns.; and Green Pastures and
Still Waters, 47 in. by 71 in., 1,150 gns.; Lord
Leighton, Cymon and Iphigenia, 64 in. by 129 in., from
the Academy of 1884, 2,250 gns.; J. Linnell, sen.,
On Summer Eve by Haunted Stream, 27 in. by 35 in.,
1853, 500 gns. — from the A. Wood sale, 1874 (795 gns. ;
three by Sir John E. Millais, Murthly Moss, Perth-
shire, 50 in. by 73 in., from the Academy of 1887, and
etched by Brunet Debaines, 3,000 gns. ; Joan of Arc,
small full-length figure in armour, with red skirt, kneel-
ing, facing the spectator, 31 in. by 23 in., Royal Academy,
1865, 700 gns. : and Portrait of the Rt. Hon. John Bright,
three-quarter length, standing, in dark clothes, 50 in. by
36 in., Royal Academy, 18S0, engraved by T. O. Barlow,
680 gns. ; P. R. Morris, Piping Home, 20 in. by 30 in.,
115 gns.; Sir YV. Q. Orchardson, The Challenge, a
Puritan's struggle between honour and conscience, 25 in.
by 41 in., 1,000 gns. — from the S. Plummer sale, 1882
(480 gns.) ; J. l'ettie, Sweet Seventeen, a portrait of
Miss Lizzie Bossom, in black dress, with lace fichu and
red rose, panel, 34 in. by 30 in., exhibited at the Institute
of Painters in Oils, 18S3, 620 gns. ; J. Phillip, Selling
Relics, Cathedral Porch, Seville, 62 in. by S4 in., the last
picture painted by the artist, 950 gns. — from the Hermon
sale, 1SS2 (3,750 gns.) ; G. J. Pinwell, Oat of Tune: the
Old Cross, a man and woman seated on the steps of a
village cross, a scene in Bricknoller Churchyard, with
the Quantock Hills behind, 38 in. by 50 in., 1869,
560 gns.— from the Artist's sale, 1S76 (60 gns.);
Sir E. J. Poynter, Under the Sea Wall, 22 in. by
14 in., Royal Academy, 188S, 1,000 gns.; Briton
Riviere, The Magician's Doorway, 42 in. by 62 in.,
1882, 620 gns.; 1). G. Rossetti, La India Mano,
a three-quarter length female figure washing her hands
in a bowl, an angel on either side of her, 62 in. by 46 in.,
1875, 2,000 gns.— from the F. S. Ellis sale, [885
(S 1 5 gns.); F. Sandys, Portrait of a Lady, in white and
yellow striped dress, panel, 18 in. by 14 in., 210 gns. ;
J. Stannard, A Coast Scene, 23 in. by 36 in., 300 gns. ;
J. M. W. Turner, Venus and Adonis, 60 in. by 47 in.,
painted about 1S06-1810, 4,000 gns. — from the (ohn
Green sale, 1S30 (83 gns.), and the Beckett Deni
1885 (1,450 gns.); G. Vincent, Greenwich H<'spitai, .1
view of the river, with numerous boats and ships, 27 in.
by 35 in., 1827, 1,060 gns.— from the F. Fisher sale, 1888
(740 gns.) ; F. Walker, The Bathers, 36 in. by 84 in.,
exhibited .it the Royal Academy, [867, and etched by
P.. W. Macbeth, 2,900 gns. — from the W. Graham sale,
.500 gns.); and J. W. Waterhouse, Marianne,
Wife of Herod, 105 in. by 72 in., illustrating a passage in
fo ' phus, exhibited at the Royal Academy, 1887, 480 gns.
Early English pictures: Sir W. Beechey, Portrait of
Mis. Archer, in short-waisted white dress, 30 in. by
25 in., S90 gns. ; J. W. Chandler, Mrs. Franklin, in
white dress with blue sash, 30 in. by 25 in., signed with
initials and dated 1793, 1 10 gns.; G. H. Harlow,
Portrait Group of Mrs. Hopwood and her three young
Children, 36 in. by 2S in., 720 gns. — from the Duncan
Dunbar sale, 1894 (185 gns.); Sir J. Reynolds, Venus
and Piping Tor, 50 in. by 40 in., purchased from the
artist by J. J. Angerstein, in whose family it remained
until 1885, when it passed into the Quilter collection,
6,400 gns. ; and the original sketch for the picture in the
National Gallery, The Graces Decorating a Terminal
Figure of Hymen, 22 in. by 28 in., 400 gns. ; ( 1. Romney,
Portrait 0/ Mis. Jordan, in white dress, cut low, pink
sash, and white muslin head-dress, 50 in. by 40 in.,
4,800 gns.— from the E. C. Potter sale, 1S84 (700 gns.);
Sir M. A. Shee, Portrait of Mrs. Stephen Ketnble as
" Cowslip " in " 'The Agreeable Surprise," whole length,
in white dress with blue shawl and high hat, 94 in. by
57 in., exhibited at the Royal Academy, 1793, 380 gns. —
from the H. A. Rannie sale, 1898 (90 gns.); and J.
/offan\, Port) ail of James (Jain, the actor, in red coat
and white vest, 36 in. by 2S in., 190 gns.
Works by old masters : P.artel Beham, Portraits of a
Gentleman and His Wife, panel, 25 in. by 19 in.,
fo 1 1 >- in the collection of the Emperor of Austria
at Schloss Lanenburg, near Vienna, 900 gns.; O. Bre-
kelenkam, A Cavalier and Lady seated at a Table, on
panel, 16 in. by 13 in., signed with initials and dated
1666, 320 gns. ; J. Pantoja de la Cruz, Portrait of the
Countess Pallavicino, three-quarter figure in richly
brocaded dress, large lace ruff, wearing a coronet, 62 in.
by 47 in., 1,600 gns. ; F. Guardi, An Island near Venice.
36 in. by 43 in., signed, S60 gns.— from the Marquis de
Blaisel sale, 1872 (.£170); B. Van der Heist, Portrait of
a Lady, in black dress with white lace fichu and cap,
2S in. by 23 in., 300 gns.— from the Massey-Mainwaring
sale, 1898 (46 gns.); P. Le Sire, Portraits of Regnier
Strik fohanszoon, in black check cloak and black hat,
white linen collar, and of D'Alida I 'an Scharlaken, in
black dowered dress with large white run", on panel,
33 in. by 26 in., signed and dated 1637, 1,040 gns.— a
pair hi fine portraits by this exceedingly rare Dordrecht
master, of whose work the only known example in a public
gallery is at I [anover ; the incorrect spelling of the name,
"Le Sein," on pages 169 and 170 of THE CONNOISSEUR
MAGAZINE, for fuly, arose from the not too legible signa-
tures on the panels ; B. I . Murillo, The Immaculate Con-
ception, 74 in. by 54 m., painted for Charles II. of Spain,
ns : P. Van del Neer, River Scene, with .1 chateau,
windmills, and buildings, panel, 12 in. by 18 in., signed
with initials, 420 gns. ; J. Ochterveldt, The Musi, Lesson,
oi with .1 J ig lady in white satin dress seated
,ini :, wnli ,1 gentleman in brown dress, 37 in. by
Tlie Connoisseur
30 in., 850 gns.— from the sale of E. Marshall, at Reading,
1897 (460 gns.); J. Steen, Backgammon Players, panel,
16 in. by 14 in., 620 gns. ; Velasquez, Portrait oj
Mariana, Si ond Wife oj Philip //'. of Spain, in court
mourning, a black silk dress, the borders of which arc
trimmed with silver stripes and immense hoops, 58 in.
by 47 in., 2,300 gns.; P. Veronese, St. Gregory the
then! and St. Jerome, a pair of small full-length
figures, 30 in. by 13 in., 600 gns.; and P. I)e Vos, A
Pea 0, i and Cock Fighting, 53 in. by 71 in., signed,
670 gns.
The modern pictures and drawings of the Dutch and
Frem h Schools, the property of the Dowager the Hon.
Louise Van Alphen, of The Hague, formed the first
portion of the sale on July 16th. The more important
drawings were two by J. Israels. Saying (,'raee, 17 in. by
22 in., 410 gns.; and The Pig-Sty, 12 in. by 17 in.,
260 gns. j I . M.11: The Bridge, a view in a Dutch town,
with a wooden bridge over a canal, 20 in. by 27 in.,
1,250 gns. ; and A. Maine. .-/ Shepherd and his Flock,
17 in. by 24 in., 950 gns. Pictures: B. J. Blommers,
Boys Bathing, iS in. by 15 in., 200 gns. ; C. F. Daubigny,
Moonrise, 19 in. by 31 in., 2oogns. ; N. Dm/. L'Heureuse
Famille, panel, 18 in. by 13 in., 150 gns.; two by
II Fantin Latour, Peonies in a Class Vase, 15 in. by
14 in., 240 gns.; and Asters and Gladiolas in a 1 ■
Bottle, 15 in. bj 12 in., 1861, 170 gns. ; three by J. Israels,
Portrait of a Girl, in brown dress ami white 1 ap, 27 in.
by 21 m., i,ooo gns. ; The Signal, a fisherman seated on
.1 hoi, i- waving a flag to a boat out at sea, 25 in. by
37 in., 750 gns. ; and ./ Shrimper, panel, 15 in. b) one,
420 gns. ; six by |. Mans, including Low fide, 24 in. by
20 in., 1,150 gns.; five by W. Maris, Milking Time,
28 in. by 22 in., 750 gns.; Feea 1 > in. by
22 in., 820 gns. : Ducks, 21 in. by 36 in., 580 gns. ; A
Dutch Dyke, with dinks ni-ai 1 u..; and
Cattle in a Pasture, panel, 7 in b) i<
,\ Mauve, Cowi and Calves in .1 Pasture neat a dale,
n ii. 52 in., 700 gns. ; and A. Neuhuys, The Peasant
Family, 39 in. by 29 in., .'-
The second portion o) the day's sale was made up
1 cellani m 1 lortmenl of pictures an< ient and
:n' ideri I e important weie : J, Km dael,
oitagi md figures on a sandy
path, 25 in. by 29 in., signed, 760 gns.; D. Van Tol,
window,
panel, 19 in. by 14 in., 150 gns.; eleven picture
71-81). 1 o] 1 .1 gentleman,"
were until recently in the Mel ulloch col
ioper, 1
30 in. by 42 in., 1 1 ;n two b) Peti 1 ' Iraham,
From / '<■ I lie Gannet
engraved by | 1'. I
/1///1/ Cattle in . 1881,
I'. W. Leader, Conway Bay ami /fie
1 arnai
•et Hand in Mine ami
Trust in .1/
Tete, panel,
59 in. by 43 in., 620 gns. ; and S. E. Waller, One-and-
Twenty, 64 in. by 100 in., Royal Academy, 1891,400 gns.
Among the other properties were a pair of exceedingly
interesting and important small whole-length portraits, by
A. Nasmyth, of Mr. and Mrs. J. Cool-burn Ross, 3d in.
by 27 in., 128 gns.; H. Fantin-Latour, Azaleas in a
Nankin Jar, r6 in. by 9 in., 1874, 205 gns.; T. Gains-
borough, The Artist's Daughter as a Gleaner, 29 in. by
24 in., 540 gns.; D. Gardner, Portrait of Mrs. E. A.
Hall, a lie no ants Mrs. Morse, 29 in. by 24 in., 130 gns.;
French School, Portrait of a Lady, in blue grey dress
and white satin cloak, 3] in. by 25 in., 330 gns. ; two
by ('■. Romney, Miss Watson, afterwards Mrs. Edward
Wakefield, in white dress with blue sash, 36 in. by
27 in., 1,500 gns. : and Edward Wakefield, of Gilford,
1 0. Down, in brown coat and white stock, 35 in.
by 27 in., 290 gns., both painted in 1793; and Sir
H. Raeburn, Portrait oj Sir John Sinclair, whole length,
in scarlet coat with yellow facings, white vest and red
sash, 94 in. by 60 in., 6,200 gns. ; this was the well-known
portrait which was " knocked-down " at Robinson &
Fisher's in May, 1903, at 14,000 gns.
On July 23rd the sale included : Sir P. Lely, Portrait
oj I lie Duchess of Cleveland, in yellow dress with blue
scarf, 48 in. by 39 in., 170 gns. ; J. M. Nattier, Portrait
of Mile, de Langeis, in grey dress with blue scarf, holding
a flower, 4S in. by 36 in., 4S0 gns. ; and J. B. Monnoyer,
Flower in a terra-cotta rase, fruit, parrots, and rabbits,
90 in. by 72 in., 210 gns. ; and on July 28th, the final sale
of .the season, only two lots reached three figures:
De Bruyn, Portrait of a Genlleman,in fur-trimmed cloak
and black cap, an. I a Portrait of a Lady, in black dress
with white ruffle and cap, a fan in hand, 22 in. by 17 in.,
31.. gns. ; and H. Bosch, The Adoration of the Magi, on
panel, 32 in. by 20 in., 185 gns.
AMONG a number of interesting books belonging to
Colonel Cotes, wdiose library was mentioned last month
rather more casualh
BOOKS
■
than it deserved, was
a very fair copy of
Wycherley's Miscel-
lany Poems of [704,
^
a folio which contains
found m any English
book. It represents
the dramatist at the
e was .1 fashionable young
e he pi 0dU( eil the first of
■hich made him the darling
" '»> eigl
1 town,
. / o-i e in
a
of the court and of society. To meet with the Mis-
'0 ms nol difficult, but a, most ol the
.us casually stumbled across have had the
I, the sale of one which has not shared
rort - ot passing notice. It reali ied
i .111. 1 will be worth more s„ n ,e
iy. A vi 1, ual 1 opy of this book
iossession of a well known linn of
/;/ the Sale Room
booksellers in the West-end, for which they asked as
much as ,£140. It was a presentation copy with auto-
graph inscription in Wycherlcy's handwriting, with
signature, addressed "For Ye Right Honble the Earle
of Radnor from his most obliged and humble servant,"
and had been in the library of Sir Andrew Fount. line,
of Narford Hall, Norfolk, who had obtained it at a
time when books had not the same sentimental value
which now distinguishes many of the nobler sort. A
book was then a book, and this one but little better
perhaps than any other copy which might have been
procured with a little trouble at the time ; but in our
day it possesses an interest altogether exceptional, and
this must be our excuse for mentioning it in this
record of current events. The details of the romantic
life of Wycherley, surrounded as it was with a glamour
which the portrait seems in a measure to reflect, makes
this book, provided it be perfect, a great favourite with
collectors all over the world.
The opening sale in July, which is always the final
month of the London auction season, so far as books
are concerned, was held at Sotheby's on the first and
following day, the 672 lots in the catalogue realising
,£1,183. This sale was of a very miscellaneous character,
all kinds of books being placed as they were received,
doubtless from a large number of different sources,
without regard to order or any kind of arrangement,
except as regards size— the object, of course, being to
keep the property of different owners as separate and
distinct as possible. This often occurs, and it is just
at sales of this character that the book-hunter is most
likely to gather in his harvest. The most noticeable
work among many which were distinctly interesting was
a copy of the third edition of Walton's Compleat Angler,
with the date 1664 instead of 1661, which is of 1 ,
frequent occurrence, though both dates are equally
correct. This realised ,£60 (old cf), though it was a
little soiled, and had the title-page torn and a few
margins wormed. A Breviarium ad /'sum Cisterciensis
Ordinis, printed at Paris per Jo. Kaerbriand (15 — ), Svo,
made ,£10 5s. This Breviary seems to have been used
in an English Abbey of the Cistercian order, as there
were some manuscript entries of English saints in the
Calendar in a contemporary hand. ( Hher prices realised
at this sale were as follows : — La Fontaine's Fables
Choisies, Oudry's tine edition on large paper, 4 vols.,
folio, 1755-59, with the plate Le Singe et le Leopard
before the inscription on the banner, ,£30 10s. (contemp
mor., by Derome) ; Dickens's Works, the Edition de
Luxe, 30 vols., 1S81-S2, royal Svo, £z\ (tree cl
Manning & Bray's History and Antiquities of Surrey,
3 vols., folio, 1804-14, ^13 (hf. cf.) ; Dugdale's Monasticon
Anglicanum, by Caley, Ellis, and Bandinel, 6 vols,
in 8, folio, 1S46, .£13 5s. (hf. bd.); and a copy of the
first edition of the Genevan or "Breeches" version
of the Bible, printed in 4to at Geneva by Rowland
Hall, 1560, .£20 10s. (russ., rebacked). A really good
and sound copy of this Bible is worth about /. 50 ;
but, as in the case of all old Bibles, such copies are
very difficult to meet with. This had one of the maps
mounted, and several others were supplied from a shorter
i'n July 7th Messrs. Hodgson sold for ,£30 an uncut
copy in its original wrappers of Charles Lloyd's Poems
011 ,'/), Ih'iilii of /'risri/ia Farmer, printed al Bristol in
1796. This is mainly interesting on account of the con-
tribution by Charles Lamb, entitled "The Grandam,'
and to find the work in its original wrappers is certainly
very unusual. A copy in that state was sold in November,
1896, for ,£5, and it was described at the time as one of
the two copies known, though others seem to have been
discovered since. In February, 1901, a similar example
sold for ,£50, and another on May 6th of the same year
f°r £3°- I" April, 1902, a copy in the wrappers realised
,£20 (wormed), and in June, 1904, a similar copy ,£28.
These, of course, may not have been different examples
of the same work, but nevertheless a recital of the prices
realised at various periods shows the present position,
from a marketable point of view, of this very important
fragment of English literature. Charles Lloyd was the
grandson of Priscilla Farmer, and though his verses are,
in themselves, of comparatively little account, Lamb's
"beautiful fragment," coupled with the "Sonnet" by
Coleridge, which also appears within the covers of this
book, invest it with an interest it would be idle to affect
to ignore. Up to this point very little need be said of
the book-sales of July, but from the 8th of the month to
its close an enormous quantity of books was disposed of,
including the important libraries of the late Dr. Francis
Elgar, consisting of a collection of works on shipping,
navigation and the Navy ; the late Major-General Sir
M. W. E. Go, set, of Westgate House, Dedham ; Mr.
Thomas Blandford, one of the original members of the
Alpine Club: Mr. S. T. Fisher, of Old Queen Street,
S.W. : and several miscellaneous collections of very
considerable importance.
The sale of July 8th and 9th was not productive of very
much out of the ordinary, and it opened in a very casual
manner, the Abbotsford edition of Sir Walter Scott's
Wa-oerley A'orels, 12 vols., Svo, 1S42-46, realising as little
as ,£3 10s. (hf. mor. gt. . The edition, good though it
is, has gradually fallen away of late yews. At one time
this set would have realised ,£10, but later editions
seem to have almost entirely supplanted the Abbotsford
edition. The Edition de Luxe of George Meredith's
Works, 32 vols., Svo, 1896-98, realised .£12 10s. (as
issued'; Piranesi's I'edule di Roma and Views .i the
Vatican, original Roman impressions, in 3 vols., folio,
made ,£24 5s., although more than thirty plates were
missing ; Tanner's Mirror for Mathematiques, 1 587, 4to,
,£8 5s. (russ. g.e., some leaves repaired); Glanville's
I'e Profit ielatibus Rerutn, the Osterley Park copy. 1535,
folio, ,£23 ios. (oak bds., slightly wormed) ; Chapman's
Architectura Nai>alis Mercatoria, 176S, oblong folio,
,£11 5s. (hf. cf, title repaired ; and 50 volumes of
Transactions of the institute of Naval Architects, with
the Index \"ls. [-46), 1860-1908, 4to, £13 10s. (cl.).
were all sold at Sotheby's, as was also on the
13th and 14th a most important collei tion of illuminated
and othei manu Cl pts and rare and valuable old books
The Connoisseur
derived from a variety of source?. Although the catalogue
contained but 350 entries, the amount realised was con-
siderably over ,£5,500. For reasons frequently explained
in this column and is very little use referring
to the prices realised for illuminated manuscripts, works
ol arl of the kind needing most elaborate and lengthy
descriptions before they can be properly appreciated.
In corroboration of this it may just be mentioned that
some thirty illuminated miniatures cut from old service
books of the 14th, 15th, and [6th centuries realised sums
from £2 ros. to /:S each, according to the
md quality of their execution. Mere size, as such,
has nothing to do with the value of works of this 1 lass,
and the same remark applies to illuminated manuscripts
in their entirety.
Anion- the bonk, winch can be adequately described,
the following realised, at this sale, the prices affixed : —
Patrick Cordon's Historieof Prince Robert, sin named the
Bruce, 1615. .(to, £20 (mor., g.e., some leaves repaired ;
Mai lowe' • . Ml 1 I he first edition, printed at
Middlebourgh, without date (but 1590), ,£11 15s. (mor.
ex.); La Fontaine's Contes et Nouvelles en Vers, the
■ iux edition, with the Cas lie Conscience,
■1, •; 1 lies, 2 vols., 8vo,
1762, /50 lorig. mor., b> 1 >'■ le ; 1 lorat's Les Baisers,
1770, 8\ .. I lerbert's The :
1 64 1 , Svo, bound in morocco by Mary Collet, oi Little
Gidding, 11 ila Ferrar, to whom George
Herbert left the 1 are and editing of the book, £\o 5s. ;
.: Haden's Etudes d PEau- Forte, 25 etchings on
China paper, with description- by Burty, Paris, 1866,
folio, £\~i mor. ; Shakespeare's Fourth Folio, 1(185,
,£38 (mor. ex., title and several leaves repaired ; 1 eoi
Meredith's Poems, first edition, with the Slip ol I rrata
; an excessively rare production
■ < , commencing Tncipit Liber
Vacatur Speculum Xpistiani, n. d, ,. [484), 4to,
,£129 (cl □ Smeeton's General Biography,
|to, illustrated by the insertion
2,200 portraits, many of them mezzotints, £ 5 ; ; Wood's
•■ l'", ,{ 35 ' i Bi 11
Jonson's Seianus, his Fall, 1605, ipy,but
the signature unfortunately cut through, £62 nevi cl ;
A Collection 0)
in two volumes, .(to, and in
1st edition, 1645, Svo, /60 (old us cut);
it Pai
and the
Editio : - fine 1 opy . It
ortrait ol
■
the 1 1. 11 : ril /'405 ; and the m.i
£y.\. From -
and that by no 1
tant entry in the
ry rare
pieces, such as Hamlet ic. 161 1), Massinger's The Virgin
Martyr, 1 63 1 , and The Complaint of Christmas and the
Teares of Twelfetyde, 1631, hitherto only known by the
entry in the Stationers' Register. For the present, at any
rate, this particular copy must be accounted unique.
At a sale held at Messrs. Puttick & Simpson's about
this time, a large paper copy of Carey's Life in Paris,
1822, Svo, realised ,£13 (mor. ex.), and a number of
other books substantial prices, e.g., Harris's Portraits
Game and Wild Animals of Southern Africa,
with 30 large coloured plates by Howard, 1S40, ,£12
(hf. mor.) ; Williamson's Oriental Field Sports, 1S07,
folio, the 40 plates evidently belonging to the edition of
1819, as they all bore that date, ,£12 5s. (mor.) ; Catlin's
North American Indian Portfolio, 1S44, 48 coloured
plates mounted like drawings, £\\ 5s. (hf. mor.);
Cokayne's Complete Peerage, 8 vols., 1887-9S, £\\ (hf.
cf.) ; Loddiges' Botanit al Cabinet, on large paper, 20 vols.,
Svo, 1S17-33, ,£30 (cf. ex., and hf. mor. not uniform);
and several works illustrated by Rowlandson, including
Poetical Sketches of Scarborough, 1812, Svo, £6 17s. 6d.
(orig. bds., with label); The English Dance 0/ I hath,
2 vols, in 1, Svo, 1815-16, .£8 5s. (hf. cf.) ; The Dance
of Life, 1S17, Svo, .£4 5s. (hf. cf.) ; and An Academy for
Grown Horsemen and The Annals of Horsemanship,
1S09, Svo, ,£5 (bds., with label). On the 13th Messrs.
Christie, Manson, and Woods sold for ,£110 the original
manuscript of Robert Burns's Ay Waukiri 0, three
.th chorus twice repeated, all in the poet's hand-
writing. This MS. is of special interest, as it has not
apparently been seen by any of Burns's editors, nor was
it hitherto known to whom the poem was addressed.
This question is, however, now set at rest, for the MS.
was headed "Songs for Miss Craig, with the dutiful
regards of Robt. Burns." Miss Craig went to Australia
shortl) after the poem was written, and it remained in
that countrj until .1 few j ens ago.
The library ol Dr. Richard Watson, who died in 1816,
was sold at Hodgson's on July 15th, and contained, inter
alia, a number of books on alchemy and chemistry
Mi \\ ,' on wa Professor of Chemistry at Can, bridge
ity for some six or seven years) as well as the
following : The Book of Common Prayer as proposed
mi iIk use .'t the Protestant Episcopal Church in New
York, printed at Philadelphia in 1786, 8vo, .£10 con
temp. mor. : the Bihlia Sura i'oiygtotta, 5 vols., folio,
1514 [7, known as the " Complutensian" Polyglot from
of its having been printed at Complutum
ome leaves repaired) ; and the
Biblia Sac a G> ■ t, printed .it Venice in 1 518, the first
Greek Septuagint, £23 (cf.).
if Dr. rary 00 upied one da j 1
othi npoi .int works were disposed
nt. two being particularly noticeable by reason of their
.n e were Vppei lej 's I ip a
Spoilsman, 1st 1 1 01 red cl.), and the
I '; (ton, 3rd edition, 1851,
£\o 10s Hie first-named work would
have realised much more had it been in blue cloth instead
of in red est 1 ml) were bound in blue.
In the Sale Room
The Library of the late Major-General Sir M. W. E.
Gosset, sold at Sotheby's on the 19th of July, contained
a number of books of very considerable interest, the
most noticeable being a set, from the commencement in
1792 until 1S70, of The Sporting Magazine in 156
volumes, all except the last fifty, which were in the
unopened parts as issued, being uniformly bound in
crimson calf and entirely uncut. This set, probably the
finest ever offered for sale, realised the large sum of
.£500. Two subscriber's copies of Lord Lilford's Coloured
Figures of the Birds of the British /stands, 7 vols.,
Svo, 1885-97, sold for ,£49 and £51 respectively, the
former being in half morocco, g.e., and the latter in half
morocco extra. A sum of £50 was obtained for Gould's
Birds of Great Britain, 5 vols., folio 1873 (mor. ex.);
£20 for The Annals of Sporting and /'amy Gazette,
13 vols, (the number for June, 1828, missing, as is
generally the case), 1S22-2S, Svo (hf. cf. gt., with all
faults); £30 10s. for Les GSuvres Computes de Voltaire,
70 vols., Svo, 1785-9 (contemp. mor.); and £62 10s. for
Reichenbach's Ieones Flore Germanioe et Helvetie.e,
vols. 1 to 24 bound in 19, 1834-1909 (hf. cf., 2 vols, in
parts as issued). The catalogue of this Library con-
tained 315 lots and the total sum realised was £1,366,
this disclosing a very good average. The miscellaneous
sale of the 27th July, also held at Sotheby's, was equally
important, if not more so. The very rare first edition of
George Mereditlis Poems (1S51), with the slip of errata,
and having inserted an autograph letter of the author,
sold for £21 10s. (orig. cl.) ; King Henry VIII.'s Primer
in Englishe, printed by Grafton in 1545, sm. 4to, £58
(unbd.,. some margins frayed); Hubbard's Narrative of
the Troubles with the Indians in New England, with
the original Boston map, 1677, 4to, and having also in
the same volume The Happiness of a People in the
Wisdome of their Rulen Directing, 1676, £150 (orig.
cf, map slightly torn); Audubon's Birds of America,
4 vols., large folio, 1827-3S, with 435 fine coloured plates,
£380 (hf. mor., t.e.g.) ; the first edition of Isaac Watts 's
Hymns and Spiritual Songs, 1707, Svo, £29 (mor. g.e.),
and a copy of the Genevan or " Breeches " version of the
Bible, printed by Barker in 1599, 4to, £230. This Bible
is very often met with, as some 60,000 copies are said to
have been printed, and ordinarily it is not worth more
than about £2. This particular copy, however, was in a
remarkable needlework binding of the Elizabethan
period, wrought by Anne Cornwallis, in the finest
possible state of preservation. It was the binding, and
not the book, which realised the large sum named.
As very often happens at the close of the season, such
a mass of books was thrown on the market that it is
quite impossible to deal with even the best in this
column. In due course they will all be reported in
Auction Sale Prices, and to that record the reader is
referred for any detailed information he may stand in
need of. The result of the season's book-sales, viewed
in a broad and comprehensive way, has not been wholly
toi y. Many very important volumes have changed
hands, as is always the case; but the general tei
has been towards lower prices for those of an ordinary
character, it being true of this season as of the last, that a
d important library might be formed at much less
1 t than would have been possible ten or a dozen years
ovided the collector is content to leave what may.
without offence, be called "fashionable books" to those
who are able and willing to pay for them. Tins will be
made clear in the next article, which will give the usual
summary of the season's activities, compiled with an
endeavour to show the reason why some books com-
mand prices which are not infrequently described as
extortionate, while others, often of much greater utility,
and far more interesting from every point of view except
one, are comparatively neglected, or in some cases almost
wholly ignored. The auction season, to be hereafter
quoted as that of 1908-9. opened on the 6th of October
last year, and concluded with the last days of July of
this. Its fortunes have been followed from month to
month in this column, and all that now remains to be
done is to submit a general summary drawn up in such a
way as to give a bird's-eye view of the situation as a
whole.
ONLY one sale of engravings of importance was held
in London during July, that being the dispersal at
Christie's on the 20th, which consisted
Miscellaneous ^^ entirely of engravings of the
Early English school. The honours of the day rested
with I. R. Smith, two of whose prints, Delia in Town and
Delia in the Country, after Morland, both printed in
colours, realised £152 5s.; and two others. Rustic
Amusement and Rustic Employment, after the same,
going for £105. There must also be mentioned .1 fim
proof of Le Baiser Envoye, by C. Turner, after Greuze,
which made £115 10s. ; and proof before any letters oi
La Surprise, by Dubuffe, alter Lawrence, for which
£54 12s. was given.
An extensive collection of Italian majolica was sold at
Christie's on the 8th, a number of notable prices being
obtained. A large oval Urbino dish, 25 in. by 20 in.,
realised £609 ; and two others made £241 10s. and
£220 10s. In the same sale a set of ten Chippendale
chairs, carved with foliage and scrolls, realised .£924.
The sale at Christie's on the 15th was chiefly notable
for a pair of old Chinese porcelain beakers, enamelled
with flowers in famille verte and aubergine on a black
-round, which realised £2,730 ; and two oblong panels
1 Is tapestry, for which £630 was given.
At the same rooms on the 6th .1 gold cross tor the
Peninsular War with six clasps, and a large gold medal
to general officers lor the Peninsular War, both presented
to the late Ccneral Lord Hill, realised £399 •"" 1
£241 10-.. respectively; while at Cleiidimm 1 ns on
1 I (istinguished Service ( Irder realised £21.
The Connoisseur
ANSWERS TO CORRESPONDENTS
Special Notice
I NQUIRIES should be made upon the coupon
which will be found in the advertisement pages. While,
owing to our enormous correspondence and the fact
that every number of The Connoisseur Magazine
is printed a month in advance, it is impossible for us
to guarantee in every case a prompt reply in these
columns, an immediate reply will be sent by post to
II i aders who desire it, upon payment of a nominal
fee. Expert opinions and valuations can be supplied
when objects are sent to our offices for inspection,
and, where necessary, arrangements can be made for
ii it to examine single objects and collections
in the country, and give advice, the fee in all cases
to be arranged beforehand. Objects sent to us may
be insured whilst they are in our possession, at a
moderate cost. All communications and goods should
be addressed to the " Managei ol Enquiry Dept.,
The Connoisseur Magazine, 95, Temple Chambers,
Temple Avenue, E.I "."
'Books. — "The Spectator," nth Edit., 17.?.?.
At,;i,S (Auckland, N ./.). Thi, edition ol /
1 than ios. 11 nd for old biblical
"In 1'rimum l.ihrum Mose Enarrationes," 1564.
\i,i;i (Si vanger).— Your old commentary i^ worth under
IO-.
Bunyan's " Holy War." U, 1 78 (Wellington) [fyoui
about £$ or £6.
wanting the frontispiece, was recently
1 r £-■
Bible, 1808. \i. 1 , 1: o] \n i 1 id) \ sibli is
Hectors' value.
" Books Of Music." '.I-;' j(Brandon). These volumes
re woi lilling ;.
"The limes," 1805. i old copy
■.-. irth onl ■ i I
reprints.
"The Secrete Museum at Naples."
N.W.). — The : ioui £5.
"Stanlej Memoirs," i-<>-. Vi,290 Hounslow).
Coins and Medals. Hank Dollar of 1804.
:
is il worth
no value
I
George IV, Crown, iNm. i p ,
Engravings. George IV., in William Finden,
after Sir 1 homas 1 awrence.
1 ngravingsbj linns Meyer, ..Her A. E. Chalon.
Engravings after Hogarth.— A996 (Sidcup).— Your
two engravings after Hogarth are worth, at the outside, about
5 s. each.
BartolOZZi Prints.— Al, 094 (Kedcliffe Square). — We can-
not quite identify your prints from the description, especially as
\ou do not give the name ol the painter. Theyappear, however,
■ . to a class where the value would not exceed 30s. or £2
apiece.
The Duke of Buccleuch, by Thomas Lupton, after
J. Watson Gordon. -Ai, 145 (Ilkley). — This engraving of
■ Sue, euch sells lor about 12s. 6d.
"The Politicians" and "The Rent Day," after
Sir David Wilkie. — .A.1,149 (Nottingham). — These prints
were nevei published in colours. Fine proofs in black are
worth only 15s. each, and as yours have been spoilt by being
coloured, they are not worth more than about 7s. 6d. each.
Landscapes after George Smith.
too ill
The Twin Sisters, by J. Thomson, after J. Hayter.
— Ai.,246 (Widnes). — This is not a print of any great commercial
"Setting out to the Fair "and "The Fairings,"
by F. Eginton, after F. Wheatley.— Ai,240(Wakeneld).
—The value of the prints depend-, upon their condition. II "the)
I impressions in black, the pair should be worth £-, or
£6, and if a line pair in colours, perhaps about ,£20.
Furniture.— Method of Curing Worms in
Wood. — Ai, 100 (Bedford Park).— There is no sure method of
ing worm from wood furniture. Many furniture shops
-ell a preparation which proves efficacious in a number of cases,
"i .1 l'".u1 plan is to irv injecting oil or turpentine. An amateur,
however, would be well advised to send valuable pieces to
a skilled man rather than to attempt the task alone.
ObjetS d'Art. — Napoleon Relics. —A 1,098
(Met n). [I 1- nece sarj to prove satisfactorily the authenticity
. ' . \ . ie 10 have a special value as relics of
No ole m, nd this would probably prove an easier matter in your
country than here. In the ordinary way these decorations have
little sale over here, and the average market value, apart from
any special historic interest, is about £1 each.
Papier-Mache Snuff-Box. — Ai, 336 (Boscombe). — The
11 yom snuff-box is very unlikely to be an original by
Mich siiull-lioxes, with copies of well-known pictures
on thi lids, are common, and worth about 25s. to 30s. each.
1 ndence regarding the original picture of Tht Proposal,
\.\ 1.. II. Harlow, is trow proceeding in our "Note- and
1, luetics " columns.
Metal Tea Caddy. -Ai,25o (Plymouth).— The mark yon
-.end a Hop date ol your met.il tea caddy. We
wi n rut up foi inspection.
"Pottery and "Porcelain. — Black Jasper
Ware Cream .lug. At, .502 (Redcar). This jug may be
Many pieces, made at the
factory during the 1 01 ) ars, have numbers
us patterns. It is impossible to form
ui ■ ug 1 1 the ni.uk, as then- are
tig. Your coin is
' in 1 1 1 . but unless it is in very line
ilv a few pence.
Watch. Brequet, Paris, 1780.-A1.25s 1 A cot 1 ."-
■ 1. . 1 ■ ; . ■. Mil-.] b) collectors
togt h, youi ipei irm n 1 1 robablj
m £-i-
X
<m- v
October, 1909.
A Surrey Manor House Part I.
Written and Illustrated by Leonard Willoughby
The history of an old Tudor manor house
in Surrey as given to us from the facile pen of Mr.
Frederic Harrison is one of extraordinary fascination.
The story he tells in his Annals of an Old Manor
House loses nothing by his easy, graceful, and alto-
gether charming style of writing, and certainly adds an
chapter to the history-
absorbing and very instl
of Tudor times.
Ingiving'the barest outline of the ancient history
of the manor of Sutton in early and unsettled days,
and of thus.- many notable personages who sub-
sequently lived, moved, and had their being in the
THE PANELLED HALL. ONC
Vol. XXV.— No,
The Connoisseur
manor house itself, long centuri :s agone, 1 must needs
dip for son).- guidance and information into Mr.
Harrison's exhaustive researches on the subject. In
doing no I therefore tender to him my grateful
ai knowledgments, for thei : is or imongst the
many who from first to last have inhabited Sutton
Place that is better informed of its history. Nor is
there one who has f ll a d lepei and more abiding
affection for tin- venerable old i n epi i i lad house,
halfway between Guildford and Woking, and conse-
quently not far from the valley of the Thames.
There was no great value attaching to it as a
property, neither was it a strategic or a vantage-
ground in the rase of strife. Nevertheless, it was a
coveted possession of statesmen and Crown favourites
for over four centuries. Mr. Harrison tells us that
" it was tossed about like a racquet ball from chief
to chief, as were scores ^>\ estates in the south, if
*Y IS AT THE COMMENCEMENT OF THE
with its associations and its peaceful and picl
dings.
On a broad green sylvan bank overlooking the
n ads just north of Guildford, through which the
stands
the fan o ise, built whilst Henr) VIII.
on which it was
built Wi ' ■■
Sudtun
lanor of
Woking, and I
I
1
I, within
which fra ncaustic
they were worth the having. It passes successively
to eight or ten families. More than ten times it is
forfeited to the Crown. At least ten tinn s the own. i
ol it, or the immediate heir to it, is beheaded,
attaint d, 01 killed in civil war. It passes from king
to baron, and bai 1. from baron to king ; from Red
Rose to Whil Ro . from Vork to Lancaster; and
during the Wars ol the Roses it is not eas) to a)
i \ iom il bi longs in law. It is
othei owners. |>\ the ( onqueroi ;
by his i Rob 'i Mal.t : l.v King St
by his son William. Earl of Warren; bj Henry II.:
n; by the Lords Basset : b) Rogi t
I arl ol Norfolk : by Hugh I (espencer ; by
l.dw.ed 111. ; by Edmund ol Woodstoi k, hall un< le
ol Edward 111. . bj Roger Mortimer, Earl ol M n
by John, Earl ol Kent ; by Jen. the Fair Maid ol
A Surrey Manor House
Kent, afterwards wife of the Black Prince; and by
Thomas, Earl of Kent, her sun. Thence it passed
by marriage to John, Earl of Somerset, the son of
John of (launt. At last, by the death of various
Beauforts, who fell in battle or on the scaffold in
the Wars of the Roses, the inheritance ultimately
passed, in E468, to Margaret, Countess of Richmond,
the mother of Henry VII. She included it in her
marriage settlement with Thomas, Earl of Derby,
still the house now standing had nothing to do with
it, and was entirely identified with its builder. Sir
Richard Weston, and his descendants. Before des-
the house as it appears to-day, loi it stands
with but little alt. 'ration as it was built nearly four
centuries ago, 1 must say a word con. rning im
members of this family, who were notable men in
their respective ways. These included Edmund
Weston, Esquire ol the King's Body (Henry VII.);
1TH ITS FI
and at her death in 1509 she left the manor to
Henry VIII., her grandson.' Henry VIII. and his
grandmother held the property for thirty-six years,
and in 152 1 the king granted the estate to his
comrade and friend, Richard Weston. From the day
that Sutton became the property of the Westons it
has ever remained in one family or tin allied branch,
rhough Henry VIII., Wolsey, Elizabeth, Thomas
Cromwell, Sir Thomas More, and other distinguished
persons were frequently at Sutton Place, still, from
the moment Henry granted the estate to his favourite
knight, the manor cased to have any connection
with the history ol' England, and became merely a
private estate and the house an unobserved country
mansion.
Though the manor of Sutton was, as I have pointed
out, for centuries closely connected with the Crown,
IND TAPESTRIES
Sir Richard, his son ; Sir Francis, son of Sir Richard;
Sir Henry, son of Sir Francis : and Sir Richard, son
of Sir Henry. The former was born in the earl} pari
of the fifteenth century, while the latter died in 1652.
The last male Weston who owned Sutton died in
1730, in George Il.'s reign, his daughter being the
lasl survivor of the Mood of the founder.
The Westons were an am ienl Famil) ol knights and
squires, who were soldiers and crusaders, tracing their
pedigree back to the time ol Henr) I. According to
the mil which is now in the British Mus inn. th
famil) settled in the county of Lincoln in Henry's
reign. In [413 John de Weston, then settled at
boston, Lincolnshire, received four yard
cloth tit the- coronation of Henry V. His son Peter,
also oi boston, 111 the reign ol Edward 1\ . had three
sons— Edmund, fohn. and William. Of these r hn
..0
The Connoisseur
was Lord Prior of the Knights ol St. John in England ;
William a Knight of St. John at Rhodes; while
Edmund, the eldest, was the fathei oi Sir Richard
Weston, of Sutton. The head oi the English branch
of the Order ol St. John — the Lord Trior— had his
headquarters at the house in Clerkenwell until the
t h e Ri fo
tion in fS4o.
LordPrior
look rank as
first of the lay
in the
r o 1 1 o 1
immediately
after the vis-
i ounts. The
Knights Hospi-
tallers of the
< Irdi r of St.
fohn oi Jeru-
i : i was
found e d i n
, i [8 for the
purpose of
maintaining the
ii ui
ii il .1 in
the
links. They
1 i s h
i i
1 ; I I , ,::
the loss ol that
the)
ttled b)
the Emperoi
V. at
Malta.
by a Grand
H '' ' l! GR1 " '
■ Of this
I tnd, ol which Sir
William W'.st. m was the last Lord Prior, the old
down by illness, dying the v< i
ii.,. . ; .
I
of ^i.ooo i bui I \\
ol it, tor it so fortuned that upon
i 'ti I lay and 1 1
dissolved
by death, which strooke him to the heart at the first
time when he heard of the dissolution of the Order."
Fuller, in his Memoirs, adds : " His hospital and
earthly tabernacle were buried together, and gold,
though a great cordial, could not cure a broken
heart.' boston at this period was a large port, and
carried on a
considerable
trad-- with the
Levant.
Amongst the
Admirals of the
Fleet of the
K n igh ts of
Rhodes were
S i r J o h n
Weston (1474).
and Sir William
Weston (1520).
These Westons,
the t h r e e
knights of St.
J h n , the
brother and
llellt
parts in
he .
r u s a d e s
tgainst the
Turk
. It IS
tlso
probable
that tl
'/Weston
laniiU
matei i-
illy
h e 1 p e d
Hem-
■ Tudor
in the sui cess-
fu 1
\ e n 1 11 re
which
ended in
the 1
lacing of
It is pretty evident that the services rendered by the
family to the Tudors placed thee, m high favour,
and, in 1 on ■< qui w e, important appointments were
I upon them. Edmund Weston was ap-
pointed (apt. mi. Keeper, and Govemoi oi the Island
II e\ within a month ol the battle oi Bos-
niii'li subsei |uenl \ bei ante almosl
in th Family. W. Berry in Ins History 0)
' c " l he oil, 1 ,• ol governor of the island
lity, A\\t\ in the fourteenth and
' be n often held bv royal
A Surrey Manor House
princes. The Westerns held the post continually State ceremony, and for thirty-three years, from the
from 1488 to i S4 .. Sir Richard Weston, who was firsl j ai o! hi< ^ n igr, n ign unl
the most .mportant and prominent member of tin, 1,, served his maste. faithfully, neve, losing
ever loyal family, was an extraordinary man-one office, and retaining all through his entir, confidence
who was not only a soldier, but also ., diploma, Never was master more truly served, and this Henrv
IN STAIRCASE HALL
and statesman— a rare combination. Were this all it
would haw been enough; but he was more, foi he
was also a seaman, ambassador, governor, treasurer,
privy councillor, ami judge of the Court ol Wards.
lb- amassed much wraith, and was a great patron ol
art. It was due in a great measure to tins famous
in ins ability and services thai Henry \ II. and
Henrj VIII. built up the strength ol thi \
monarch'.- in the sixteenth century. State papers of
that period show that he look part in almost every
ai knowledged by the unbroken loyalty he evinced in
return. Mr. Harrison adds: '-II' rose into royal
favour under Archbishop Warham lone befoi : \\ ols .
he retain d il under Wolsey, and after VVolsey's fall,
aftei thai ol More, and after thai ol I
well. He served th m all, and o
I'll' appointments and promotion 1 1
showered upon him, sui ha II VI]
\\
to detail in full. \ however, was his
The Connoisseur
I M
fHE oUADRAh
itment I -ieut i\A\n of the < !astle and Forest
of Windsor. He married Anne Sands, or Sandys,
ol Shere, his wife becoming gentlewoman of the
qu n in [509, as she was to Queen Elizabeth of
York, who died in 1503. By his marriage he had
an ill-fated son, Francis, born in 1511, who was
named after Francis I. ol Fram e.
1 .11 Weston was sent with a force under
Lord Darcy to assist Ferdinand ol Spain in the
campaigns against the ^^^^^^^^^^^^^™
Moors. This expedition
rani.- tu nothing. In
1 5 1 t II enry knighted
and from that
tint onhi fortunes were
unbi iunded. In 1 5 1 6
tCnighl ol
1 li 11 [) , whii 1) brought
I
iter an embassy
1 Fram
to obtain ratifii
riage ol
\ith the
Ml! 1
This pi 1 Wol
after died, and Mary eventually married Philip II. of
Spain. Sir Richard remained in France five months,
and during this time had ample opportunity of seeing
the French chateau which had been recently built.
It is probable that, being a man of great taste and a
lover of art, he determined to build himself a house,
on his return, which should resemble the 1 hat. au
he had seen on the Loire. In 1520 Sir Richard was
pres hi at the Field ol the Cloth of Gold as one of
1I1 ■ kni-hts s,-l ■, ted I'm
Hampshire. A few
"^s v "^/ < ~* months later he was one
ut the witnesses to the
alliam ■ ol Henry with
the Emperor Charles V.
In 1523 Sir Richard
raised a contingent to
servi under the Duke
ol Suffolk in the use-
less war against France,
which, owing to the
jealousies ol the allied
princes and the mis-
management of Bran-
don, was a I'n in plete
failure. In 1525 he ob
tained, through VVolsey,
i;i niii. e ol the 1 >uch)
ol I am aster, and in the
.11 wasappointed
I 1 asurei to th town
and marshes of Calais.
Here he resided a good
deal. In 1527 he was
appointed Grand Mastei
A Surrey Manor He
llttiii
mJ&BH&*ti3R&£&,iA , Wi&i\ fih
TERRA-COTTA
Lord Prior of England, which gave him rank as
one of the great officers of State. Three wars
later he was made Under-Treasurer of England,
which office he held for twelve years, surrendering
it only in his last illness, when about seventy-five
ye irs of age.
In 1523 Anne Boleyn was crowned, the coronation
being received very coldly by the majority of English
people. Both Weston and his son Francis, however,
showed their loyalty to her, and within two months
of'the coronation Henry paid a Suite visit to Sutton
Place.
About this tune Henry was restless and anxious,
queen was expecting her confinement, and
PORTRAIT IN STAINED GLASS OF CHARLES II., l66o,
li;
Hi
□ THE STAFFORD
FRAGMENTS OF ROYAL ARMS AND THE GARTER
KNOT, AND A PORTION
, ARTER
JEEN ELIZABETH, AFTER
t : both desperately anxious that .1 son should
1 tried his best to hide his anxi :tj
1 hi vil . and Ins " pastimes in huntying redd
were his chiel amusement. It is even prob-
unting was an excuse to
1. el his . ouncil
Sutton was the
ol coun-
1 il nv etings, at
plans
n 1 disi
for th
crisis in liis
turned to
I
I
I
and
that
Anne's fate 1
Sir Richard'
note that, despit
onl
part played in this tragedy by
son. It is quite remarkable to
e fact that Henry had but just
>n oi Sir Francis Weston, Sir
still the owner ol Sutton Plai e
sovereign. Bearing his terrible
bereave m ent
bravely, he re-
tained Henry's
favour, subse-
quently atl nd
1111;
•f Jan.
Edw
and
he
VI.,
Slat,-
rece
It 1
Henr
A.
fourth
Cleve
. 1
1 1 540
Sir Rii
hard.
who
vas
then
over
se
ent)
.1 :
and h
id
served
11 en
r y
lor
A Surrey Manor House
was sent to meet Anne
of Cleves on her land-
ing in England prior
to her marriage, which
turned out so d i s-
astrously, and which
lost the instigator of
it. Thoaias Cromwell,
Earl of Essex, his head.
But neither Cromwell's
nor Wolsey's downfall
affected Sir Richard's
position, and he was
appointed Master of the
New Court of Wards,
which office he held till
his death, t wo yea is
after. He was buried
in the parish church oi
the Trinity in ( iuild-
ford, but unhappily all
trai :s oi his tomb have
disappeared. He was
succeeded by his grand-
son, Ihe only son of Sir
Francis, whom Henry
executed. Mr. Harri-
son's description of Sir
Richard is that " he was
one of those skilful, wary,
and trusty servants of the Tudors by whose elicit and
craft they established a strong personal government in
England. . . . His only son and heir, a personal
playmate and minion of the king, had been married
to a rich heiress by the king's favour in 1530, and
in 1532 he was mad..- a Knight of the Hath at the
coronation of Anne Boleyn. Four years afterwards that
son was exe-
cuted t>n Tower
Hill as one
of the reputed
lovers of the
queen. Vet the
fatht
her
remained at
Sutton to 1 njo)
and ai 1 ept the
favour of the
king.
To be a
trusted minister
and servant of
Henry VIII. for
thirty-three years shows
that this man must
have been possessed of
marvellous tact, for no
other servant of Henry
Tudor had a similar
record. He was in
office under Wolsey and
Cromwell, during the
Reformation, and the
Six Acts, as well as the
Pilgrimage of Grace
and Henry's first live
marriages, during which
time he was steadfast in
his loyalty. "And what
a wreck and ruin alter
all," adds Mr. Harrison,
" was the old man's life !
With what bitterness
and hopelessness of
heart in his last years
must he have looked
across the links of the
VVey and beheld the
fresh beauty of his newly
risen house. There is
a certain accord be-
tween the fortunes of
the knight and the
and the house which the
minister built him on the ancestral manor of the
king has shared in the blight which crushed the
lives of both. It is still overshadowed by the catas-
trophe which snatched from the one his wife and
from the other his son. Bright and promising was
the fortune of Henry and the fortune of Sir Richard
'when these
walls first rose
in the freshness
of their fanci-
ful grace. But
I be only son
who bad played
within them as
a boy never
lived 10 inhabil
ili-- hou
1m, 1 watched
in the building.
He who gave
the estate in
nty, 1 hi
Oil 111: i.
fortunes of the
The Connoisseur
rAiNi Glass
with monogram III a ■' ■
to it in blood and shame.
He who obtained the estate
by the king's favour, lost
the son who should have
inherited it by the king's
fury. Ami ; i 1 1 ■ m n o
inked seem still to
have lived on in relations of
course, nay, almost of
ties had come to them by
some inscrutable di tiny, a
if the lather could as little
blame the king as the king
could blame the father.''
Almost immediately after
Sir Richard received from
Henry the grant of the
manor of Sutton in 1521,
work to build the
house which now stands. It
is not known whether the
desigm r or architect was
English or Italian. But
1 he was, he was a
man of wonderful taste. Contemporary with Sutton
tre such famous buildings as Hampton Court
Grimsthorpe < astle, Lin-
colnshire, the home of
the Willoughbys ; II n
grave 1 1. ill, built by Sir
Kitson, and sn
long inhabit ed by the
mily ; Christ
Church, Oxford ; and
Trinity I 1
I 'lace is
notable as 1,
Ountry house in
England built - ni
fortified build
were in-
11 behind
nd I ranee in
ing the style ol
Castle . roivrtt,
two 1
zvith buckle, and the f'unnine iel-us
a tun. Jo LcNoi.
eighty-one feel eai h waj
building was an
1
purely domestic buildings
in place of the fort ifi ed
castle.
There was no suggestion
of even the smallest attempt
at defence in the house he
erected, it being simply a
building of brick and terra-
cotta, symmetrical, light, and
airy, with great windows,
tall clusters of chimneys, and
spacious apartments.
The house was built on
the manor, about half a
mile eastward of the old
hunting lodge, where the
chapel now stands. In
shape it consisted of a main
building facing north and
south, with two long wings
projecting to the north from
either end, these again being
connected by a gatehouse.
Thus a complete quadrangle
was formed, measuring
On the western side of the
uadrangle, of about fifty feet by
forty feet, while the stab-
mg and offices were be-
yond. As I mention, d,
the entire house was built
of red brick, the mould-
ings, window dressings,
mullions, architraves, and
ornamentations being of
terra-cotta. Th is was
pi 1 1 1.1 1 is the first time
l 11.1 1 oit.i was introduced
into -in English do uestic
building. No stone was
used, with the exception
ol the Mocks on which
massive doors of the
gatehouse hung. To-day
the old brickwork is a joy
having
gi\ en ii .1 deli [htful
mellowed torn . while the
wonderful old I
is in as line a state ol
iervation as on the
11 was pul in [9
years ago, the mouldings
retaining their sharpness.
The Connoisseur
as the illustrations will show. With the exception of
the gatehouse, which has unhappily disappeared owing
to a serious fire, tl rnally, is as Sir Richard
used it, and so we are enabled to g t an xai I
impression ol the first purely domestic country house,
just afi ! the war ol the baron i < ased. 1 louses in
ii to afford accommodation,
not only for the family themselves, but also for
numerous retainers and servants. Hence it was that
on - usuallj found in earl) houses the large hall, where
all dined together, with the raised part or dais al one
th i lord and his family, and at th< opposite
ry, butler's pantry, offices, and cellars.
,-as a gallery or solar room upstairs, used 1>\-
the master ol the house, and generally a window or
opening from which he could look down on those
below befoi and aftei I :asting. At Sutton Place
the gallerj is a very fine specimen. The minstrels'
was .'l the opposite end of the hall. In a later
i -,ill describe th : hou - full) .1- il now <-. and
give illustrations ol s 1 ol the interesting contents,
which have been col-
car and ex :11 m good
houses in Eng-
land to co npare with
Sutton Plai . either in
charm of design 01 set -
tin- ; while til" fact that
it was built ami lived in
b h an interesting
man as Sir Richard
it just
tOUl '11 ol
ipestries
which hang in the din-
and drawing
i hall.
II ri
d Sutton
PI 1
I
1588), Herselin (1530), Jean Raes, \V. Pannemaker
(1548), and Bernard van Orley, the designer of the
Hampton Court tapestries. These tapestries hear the
Brussels marks — a castle or and shield gules. There
are a great number of these in the house, all in
excellent condition and hung to great advantage,
the subjects varying, some being scriptural, others
allegorical. The Brussels pieces have the borders of
vines and pomegranates, which are characteristic, while-
one or two are purely landscape subjects. There are
. ;.il pieces ol old Jacobean needlework and
stump-work in the gallery, and one in particular,
1 piece ol Elizabethan needlework relating to the
Galmer family and the Earls of Winchelsea, is of
especial interest.
The old painted glass which adorns the great
hall is just as it was put in centuries ago. The
wonderful colouring in the heraldic devices on the
glass is worthy of stud\', and it is remarkable to find
that they have been so well preserved. It must be
remembered that glass-painting reached its perfection
between 1530 and 1550.
and had even begun to
decline in 1545. Not
only do these arms refer
to the Westons, but also
to those connected b)
alliance with the family,
and those, including
kings, queen s, and
princes, who visited
Sutton, or owned the
manor. There are also
the emblems of both
Roses, white and red.
the badge of the Union
ol the rival houses of
York and Lancaster.
No fss than fourteen
windows with ninety-two
separate lights in the
hall at Sutton Place are
filled with shields, with
1 01 set oi de-
\ ices iii eai h. ( >f vary-
ing 1 [uality, and belong-
ing tO I 111 ee difl I Hi
th 5 .11 ■ oi rare
I.e. ens and workman-
ihip, and are certainly
amongst the most in
tcresting oi tie^ varied
features ^1 Sutton
Potteryand
Porcelai
The Evolution of Black Basaltes Ware
By E. N. Scott
Black basaltes ware, which has its lowly
origin in the rude products of the seventeenth century
peasant potters, and its exalted culmination in the
monumental works of Wedgwood, is worth)' to rank
side by side with that most original of the great
potter's productions — jasper. True, its appeal is more
limited, but in the same sense as the appeal of sculpture
is more limited than that of painting. Basaltes invites
appreciation solely through its beauty of form and the
variety of tone produced by the play of light on its
surface, just as does a piece of sculptured marble.
Jasper claims attention through its charm of colour as
much as through its beauty of form and design, just
as does an example of painting. The truth is, the
sense of form comes of a deeper understanding of
KStheticism than does the sense of colour, for the
latter is the more easily impressionable. Sculpture is
no lower in the scale of line arts than painting, and so
basaltes is no
lower in the
scale ol applied
arts than jasper.
Basaltes is
the indigenous
product of Staf-
fordshire, for it
was doubtless
with the pea-
sant potters ol
that county in
the seventeenth
century that it
had its origin.
The somewhat
vague evidence
nl historians,
combined with --
the more cer-
tain evidence
ot remaining
pieces, proves modelled
that they sprinkled their red ware with a mixture of
powdered manganese and lead-ore, and so produi ed a
glazed pottery, which was, at any rate, superficially
black — or nearly so. This black glazed ware, of which
we give two photographs, uf course differed from
basaltes, which is ungla/ed and black throughout.
The further step in the evolution of basaltes was
probably taken by the Elers during their stay in
Staffordshire from about 1690 to 1 7 10, by mixing
the manganese with the clay they were using foi
their red terra-ootta, and so producing an unglazed
stoneware which was black throughout. There is no
reason to doubt that this was so, although no pieces
are in existence which can be attributed to them, but
it needs no great presumption to conclude- that putters
so. resourceful as the Elers availed themselves ol the
suggestion offered by the methods of the peasant
potters, and added to the manufacture of their more
famous red pot-
tery — the pro-
duction of black
lilt le ti.'.lpi ii -> III
1I1 Hanlej
Museum, which
belong in the
rtofthe
eighteenth cen
turv and which
illus-
trated. They
.,. le I .vyford,
who, together
with \.:liue,.
I, arned the
The Cannoisseur
I.I rs b) feigning idiocy. There is no evid
suggest thai Twyford showed am, signal originality in
i i imic productions, and the proof of his having
blai i. ah mpports the theory that the Elers
-I ii. and ih.it he 1 :amed from them the
u ned the
of th red wai , fhese pieces, however, differ
very considerably in design from
th" u,n usuallj .hi i ibuti 'I tn
the I >utchmi n, and show a free
nl ot naturalistic orna-
ment in contradistinction to the
i trained u ol conventii mal
motivi ■
Vet th imbued with a
nlike appreciation ol the
plastic nature ol the mat i ial, one
ted with
ng with the unglazed black
handle— sh
and appi dling. Bui there is no
' asontoi [ .mi them a ol particularly original
i i turalistii
rth nw.n.
I . ■
made this
black wai I ptian blai k," .Kami to tl
ol w dgwood, who, oin at i ; 66, broughl
it to its c pet :i. under
I
colour,
polish which, urn
light, g
tone to its surfai
»
I.I i.CK GLAZED WARE I/TH CENTURY
charm is well exemplified in the fine sphinx i mi -
pi i ■ ol Wedgwood & Bentley's manufacture, here
illustrated. Basaltes possesses some of the character-
istics of natural basalt, ami it possesses, too, something
of the appearance (> f bronze, but its truest artistic
qualities are related to neither: they are essentially
Wedgwood recognised its resemblance to
natural basalt, as is i \ ident by the
name he applied, and it was verj
likely the work of the Egyptian
sculptors m this material that
suggested the Egyptian as the first
of the classii stj les hi ai li ipti d
Wedgwood, tOO, perceived the
suggestion of bronze, ami when —
probably inspired by the classic
productions in this metal — he
desired to imitate bronze in
ce by twyford P°"ery, he carried this suggestion
too far by applying to the wai his
tustic." Examples of this an .
however, rare, but in the Wedgwood Memorial Insti-
tute at Burslem there is a candelabrum, which has been
' I) iiianipiil an id that one at first needs i ■
- on\ an ing that it is basaltes at all. But Wedgwood
man to try to perpetuate this
method skilful but inartistii — ol imitating in one
material what
another. And
lie
"
ch better produced in
e see he turned his attention to
ution ol works which
w re not onlj beautiful in design,
Inn w Inch also complied with
ni ' . ramii i [ualities of
1 i ' limn.
Reverting to the origin of this
hould b. observed how-
all along the line the production
ol blai k potterj is as ;oi ial d
with red. and this is one.
The Evolution of Black Basaltes If 'are
seeing how the fabrication of the one so easily .1
out of the other. Wedgwood for a time made
two side by side, as is evident from the similaril
methods of execution and enrich-
ment — particularly the application ol
engine turning to both — and also
from the fact that in many pieces the
two bodies are seen in combination.
With regard to the latter point, most
representative collections of Wedg-
wood wares contain pieces of red
pottery decorated with black applied
ornament, and also examples of
basaltes enriched with red applied
ornament. The latter, which include
useful and ornamental examples and
also medallions, are pleasing in effi ct,
the limited application of the red
suggesting a sense of refined con-
tract. Nevertheless, they pale into
artistic insignificance he-side the noble-
simplicity of the fine specimens which
are unallied with any other body, and
which depend solely for their effect
upon modelling — produced by vari-
ous means — and upon the natural
qualities of the material.
Yet again, the red and black wares
are associated in Wedgwood's productions, for when, of th
influenced as he was by Bentley's classic taste- and sever
th-- acquisition of examples of classic art, he essayed to fitnes
reproduce t he-
painted ( rreek
and Etruscan
vases, he once
more utilise.!
ill- I wo wares.
Upon the red
he painted his
"shining black"
to for m t h e
ground, leaving
the red of the
body to i-i\]])-
pose the orna-
111 en t ; a n d
upon the black
he painted the
ornament with
Ins ■■ encaustic
enamels."' He,
h o w e v e r ,
Utilised the LEOPARD TRIPOD
WEDGWOOD AND BE
first process, 12 inches
which was, of course, th,- method generall) adopt,.-, 1 by
the ancients, to a very limited extent. The majority
oi these ■ in- d bj means oi thi 9 cond
proi ess, because ol its gri atei facilil j
of execution, and because of the
smaller demand it made upon the
skill ol his painters. Ol th
frankly imitative of the ( irei k and
Etruscan productions, it is onl)
necessary to say a mud. Scientificallj
the) were excellent, but artistically
their execution was so lacking the
facile, spontaneous, and decisive
touch of the ancients, that Wedg-
wood probably realised them to be
neithei worth) of his medium nor of
his - raftsmanship. At fast, his later
productions justify this assumption.
Basaltes, unallied with any Other
hod\ and disassociated from enamels
- -in fai 1, true- basaltes — now claims
attention. As was the case with
each class of his productions, he first
employed it, probably from 1766, in
the fabrication of articles of utility,
such as tea and coffee ware, salt-
1 - liars, candlesticks, flowei pots, and
inkstands. In the production of most
se articles he evinced a simplicit) of form and
v of enrichment that give a sense ol ah- -Un-
to the material, to the methods of fabrication,
and to the pur-
pose of their
\SE, LEOPARD-
WEDGWOOD
1 eii and tea
pots and other
. like articles ol
usefulness in
most collec-
tions, which,
for beauty of
and ap-
propriates ss
of em ii
are worth) to
take a place
with the more
ambitious de-
corative piei -
Then qualiti :s
arise in a large
til .1 .111 ■ from
1 h I- 1 1 method
The Connoisseur
(EDGWOOD
of manufacture, throw-
ing on the wheel and
turning on the lathe.
\\ dgwood 'I' i
the possibilities ol th
lathe, first used in Staf-
by tl I
to the utmost
i -I 11 ■ capacities, and
found in it artistic
propert i es thai were
quite unthought of
I he objeel ion maj b
raised that if
of engine-turning is too
ii il to beartistic,
but in i I ca
:• : fine texture
and hard nature have to
bo taken into account,
and then the appropri-
ateness "I lathe-work in
relation to this ware will
b realised A study
ol en. 1 1| these i offee
oi ti ' pots, 01 such like
ol utility, dei orat. d with flutings incised as
the piece was being finished on the lathe, will serve
to show tin fitness ol this method ol decoration.
1 1 simplicity and geometrii al ai i him 5 seem
--..1. if. wha ..' : . Me -I for
if. enrichment ..i in
.... m in. ii:. hi, .1
....ii 1 ii. had ma tered tb
technique of his craft, wa
oduction ol d
■
1
.
artistie p
timing that the
almost ( e
is, from
whii h th.' handli s sprang in th.'
were thrown on the
wheel and finished on
the lathe, but without
fluting. The next step
was the application of
oval medallions of figures
to these same vase S. As
a matter of fact, the first
basaltes shape recorded
by Wedgwood in his
original shape - book —
now preserved at Etruria
— is one of these medal-
lion-decorated vases, but
it is only reasonable to
assume that thus.' with-
out the medallions were
first produced. In the
course of development
these same vases were
varied by the addition,
in place of th- medal-
lions, of festoons of vine
or flowers.
re piece Seeing how success-
,5 inches fuUy Wedgwood had
utilised the tinting produced by the lathe in the enrich-
ment of his useful articles, it is not surprising that he-
soon realised how advantageously it might be applied
to his vases. Indeed, for simplicity of form and re-
straint of enrichment, the vases
which mainly depend upon ngincj
turning for their decoration hold
iii. foremost place amongst his
prodm ts in basaltes. The bodi s
a : gi nerall) decorated with
flutings, surmounted b)
of festoon.-. I draper) or flowers,
th.' handles springing from -atyi
heads, masks, 01 goal
Naturally, these motives were
varied, but the vasi s ol the
simplest charai ter, produi
about 1701) to 17S0 the best
yi .us of the W 1 'lew l& Bi tltli j
partnership are ol similai form,
in, I aie obviouslj related on,- to
1 Th.' artistic climax
oi this class ol ».iM'\ we venture
to assert, was reached in the
beautiful example her.- repro-
.-! oi .. pair to b
th'- top
about 1
11 El
. The flutin
fitted to its oviform
-
PRINCESS FREDERICKA SOPHIE WILHELMINA
BY J. F. A. TISCHBEIN
Rijks Museum, Amsterdam
The Evolution of Black Basaltes JVare
body, and the leopard-head handles, together with the
bands of ornament around the shoulder and foot, seem
to supply just sufficient enrichment to the restrained
form of the vase.
These simple pieces, which are essentially the
product of the thrower's wheel and the turner's lathe,
gradually developed into the more elaborate examples
which are inherently associated with the process of
casting — long before introduced in the production of
salt glaze. The most famous amongst the early
ornamental examples of greater elaboration were the
" Wine and Water " vases, modelled by Flaxman in
1775 — here illustrated. It is not at all unlikely that
in their production Flaxman was influenced by
designs in bronze, but apart from the handles, which
appear too weak for a ceramic material even of the
Strength of basaltes, they are quite appropriate to the
material and possess a dignity and grace of form and
enrichment which are quite satisfying. The elabora-
tion of design, in pieces mainly produced by casting,
reaches its culmination in the tripod vases, lamps,
pot-pourri vases and such like examples of basaltes,
of which we give three examples. One of the finest
specimens of this class is the large sphinx centre-
piece before referred to. The photograph gives some
idea of its dignity of form, despite its elaborate
character, and of its unity of design, notwithstanding
the combination of decorative motives of different
historic periods. The sphinx pot-pourri is an early
example of the numerous tripod vases produced and
is another good example of the caster's art. The
leopard tripod vase is a later example of the same
class and, even apart from its design and modelling,
is of special interest by reason of its method of pro-
duction. The lower portions are cast. The upper
bell-shaped portion and the lid are thrown and
turned, the band of ornament and the diminutive
figures forming the knob being afterwards applied.
The engine-turned fluting, by reason of its simplicity,
appropriately acts as a foil to the richness of the
lower portion.
In the pieces belonging to this period oi greater
elaboration, we have the culmination of classicism as
applied to basaltes. Beginning with pure Egyptian
ornament, Wedgwood also used Greek, Roman and
Renaissance — indeed he borrowed more or less from
all the historic styles — and combined motive with
motive, as only a master craftsman would venture to
do, until he evolved a classicism of Ins own. In some
tew instances, the great potter even went so far as to
combine with the conventional ornament ol
art the naturalistic enrichment he used less frequently,
but in so doing, he set himself an even greater task
than in combining the motives of differing historic
styles. When the naturalistic ornament was treated
broadly and severely, the result was not displeasing ;
bin when it was not, the result was a sense of incon-
\ case in point is a large classic pot-pourri
d form, formerly in the- Propert collection and
now in the Wedgwood Institute, and in this instance
: o ivj has been applied— almost, it would
seem, as an afterthought. Another example is a
tazza with red applied ornament, in the South Ken-
sington Museum, and in this 'case the enrichment
consists of naturalistic vine growth as a frieze and a
Greek border as the plinth decoration.
The final development of true basaltes took place
in 1776, when Wedgwood commenced to apply bas-
reliefs of classic figures and groups to his vases and
oilier pieces — reliefs which in frequent instances were
the same as heiapplied to liis jasper ware ; for instance,
The Dancing Hours and The Apotheosis of Homer.
Indeed, at this period the two ; wares were closer)
related in design. In the Wedgwood Institute there
is an exact replica in basaltes of the jasper vase
in the British Museum which bears the relief The
Apotheosis of Homer, and is surmounted by a small
pegasus. An example of another type of development
was the application of reliefs to the " Wine and Water "
vases. In the Wedgwood Institute there are varia-
tions of these vases, in which the all-sufficient festoons
of the originals have been replaced by reliefs, repre-
senting The Birth and Education of Bacchus and A
Bacchanalian Dance. A comparison of the two
designs, however, reveals how immeasurably superior
were the more simple and dignified originals by Flax-
man. But it is not to be 'assumed that this latest
class of basaltes productions does not comprise pieces
ol individually artistic worth, for one of the most
artistic examples of basaltes which we have seen —
especially if regarded from the decorative rather than
the utilitarian point of view — is a large, kettle in the
Ilanlev Museum, showing great beauty in its restrained
form and decoration. Its enrichment consists of a
frieze of cupids treated in very low relief, which is
enhanced by simple flutings turned into the piece on
the lathe. Main other finely designed specimens of
similar character are to be found in the various
coif . tions.
T mplete the types of basaltes produced by
Wedgwood, it is only necessary to mention the life-
size busts, the statuettes (one of Mercury, modelled
by Flaxman about 17S0, is here illustrated), tb
medallion portraits, the seals anil the intaglios.
[The illustrations o! basaltes are from examples in
the museum opened at lururia 111 [906 by M 1
fosiah Wedgwood .\ Sons. The others are from
pieces 111 tin- Ilanlev Museum.]
THE MILKMAID: MORNING
r,N B. I Bl > MM! RS
Pictures
Glasgow's Latest Acquisition
By Percy Bate
The picture lovers of Glasgow and the \\ esl
of Scotland must surely be among the most public-
spirited of citizens. Year by year the exhibition of
the Royal Glasgow Institute of the fine Arts is
distinguished by the inclusion of masterpieces ol all
kinds lent from private sources, and year by year the
civic collections are enriched by loans and gifts of the
most important character.
Among the works of art which have lately been lent
to the city may be noted the collection of Captain
Dennistoun, of Golfhill ; a series of works by our
native masters of the eighteenth century (including
Gainsborough, Romney, and Turner), from Sir Edward
Tennant ; an important group of 1 Hitch pictures ol the
The Carfrae Alston Collection
seventeenth century, owned by Mr. Arthur Ka\ ; a
notable collection, mainly of Italian pictures and
portraits of the finest period, mad.- by Mr. William
Beattie; and, by no means least, a unique group ol
modern works belonging to Mr. Andrew Maxwell,
among which are to be found a splendid Corot, and
line examples of Monticelli, Monet, Chalmers, and
Tadema.
Turning from the loans to the gifts and bequests,
mention should be made of such individual donations
as Albert Moore's exquisite Reading Aloud, Sir James
Guthrie's impressive Highland Funeral, Sir E. Burne
Jones's beautiful Danae and the Tower of Brass, an
authentic / h in a -.•<"" \i with St. John, by Bottii i Hi,
The Connoisseur
and a fine Virgin and Child Enthroned, by Barto-
lommeo Montagna (to name no others), each recently
presented to the citj b) generous Glaswegians; while
lobler in scope and more important inartistic
value are such unique benefactions as the Elder
bequ it, the Reid gift, and the Donald bequest. The
two I. up i are probably among the most magnificent
individual contributions made in recent years in any
British gallery, the Reid gifl comprising one of the
greatest ( !orots in the world, a tuperb Israels, notable
works by Constable, Jacque, and othei painters oi a
md a glorious Turner, a canvas ol the
1 .n.n . while the
fort] |n< tun - im ludes
imp] "' mi h leading Scottish paintei i as
:i md Pettie, a « II as a long set ies ol
m i ters as
fules 1 lupre", I tecamps, Rousseau,
Daub - modern
hools.
And now,
f Mr. I larfrae
h
tbinet pictures,
mostly water colours (together with a masterly bronze of
A Prowling Panther, by J. M. Swan), each work typical
in mood, method, and subject of the artist represented,
and all chosen with cultured and fastidious taste.
This is not the place for an elaborate account of the
pictures thus added to the permanent collection of
Glasgow, but a brief note concerning them may be
desirable. They are singularly even in quality, and
there is probably no individual work which stands pre-
eminent amongst them, but there are some grounds
for naming first among the drawings two by Johannes
Bosboom. Both are in some ways slight, but each is
full of distinction; and while the one entitled The
Interior of a Court J/oi/se is notable for its breadth of
handling, its happj contrast oi light and shade, and
the skill with which the artist has used the dark mass: S
ol his composition, the other (the Church Interior
hi re reprodui ed) is equally characteristic in its colour-
n of harmonious browns and its spontaneity ol
draughtsmanship. Anothei ol the great Dutchmen,
Amen Mauvi , i - also represented by two drawings, one
a piei ol put landscape, Clearing after Rain, with
sand dunes and sparse herbage beneath a beautifully
felt and subtly tn al d gre) sk) ; the other a landscape
The Carfrae Alston Collation
THE HERDWIFE BY ANTON MAUVE
with figures — The Herdivife — charming in design, beau-
tiful and reticent in colour, and evincing in every one
of its few square inches the artist's innate appreciation
of the fundamental qualities of water-colour art.
By Albert Neuhuys is a low-toned figure subject
called A Two-Handed Crack (a Scotch phrase happily
applied to a Dutch drawing), in which are depicted
two urchins in earnest converse, sitting beside a fire
whereon a cauldron boils ; while Adolf Art/, is repre-
sented by Placid Enjoyment—?, mother and her two
children resting on the grassy shore, the sea blue-grey
in' the distance beneath the tempered sunlight ot a
hazy day. In the same ■genre as these two is an
aquarelle which is probably one of the most beautiful
things in the collection, the lovely Milkmaid : Morning
Call, by Bernardus J. Blommers, a drawing al once
broad and delicate, in which the pale blue of the girl's
dress and the cool grey of the cottage wall are deftly
relieved by the happy accent of the blue yoke which
has slipped from her shoulders, and the deeper hue of
the pail she has just laid down.
Sharply contrasting with the dainty art of Blommers,
the two drawings by J. M. Swan next call for notice,
and in particular the impressive On the Alert, which
shows a lioness and her two cubs prowling on tl
of a precipice, the valley below being tilled with mist.
Like all of this capable painter's work, the drawing in
question shows an instinctive sense of power, and
while it is carried just far enough to be absolutely
complete, it yet retains all the verve and vigour of a
first sketch. Finally must be mentioned an atmos-
pheric rendering of Antwerp, by Jules Lessore, and
(hanging pendanl to this) South Queens/erry, by
Robert VV. Allan, a broadly-treated rendering of an old
Scots village street bathed in the cool sunshine of early
morning, beneath a clear and pellucid sky.
Fewer in number than tin- water colours, as has
been said, the oil paintings are no less distinguish :d
in quality, and among the first to demand notice arc
two by fames Maris, The Storm-Cloud ami ./ 'Quiet
Berth: Morning Glow. The former is a dignified
and largely seen composition, in which the sensation
of impending thunder is admirabl) com
latter, larger in scale, is a sinking canvas, freely and
broadly handled, and delightful in th luminou qualitj
oi the sky and the rich green of the gra . both
di xterously emphasised by the sombre foli;
trees. Not less spontan ous is th vivaciously treated
Crail Harbour of R. W. Allan, while in quite another
mood Alexander Frazer's Barncluith, highly wrought,
AIK\ LILIAN
I'.Y D. y. I AMI K< i\
The Carfrae .listen Collodion
completely realised, and sparkling and glowing with
sunshine, proves Mr. Alston a collector as catholic in
his taste as he is discriminating in his judgment.
And if any other e\ idence were needed of his sympathy
with widely-varying ideals in pictorial art, it would be
found in the two last canvases to be mentioned, works
absolutely different in their character from the realism
Of Frazer or of Mauve. These two pictures (each in
its way instinct with the note of romance) are D. Y.
Cameron's Fairy Lilian, painted at a time when this
truly poetic artist was under the spell of Matthew
Maris, and Adolphe Monticelli's Garden File, an
exquisite idyll of the golden age, quite lovely in its
glamorous colour, its suggestion of idle, languorous
breezes, and its ardent sunshine.
It would haw bed, possible to expatiate at much
length on the beauty and the charm of this
collection thus generouslj bestowed on the donors
native city, but enough has been said to -how that
Mr. Alston's gift is ol the highest artistic importance.
Admirably chosen. e ai h work has its own i harai
qualities and its own individual appeal. 1 here is not
■ which dominates the mind o\ the observe! b)
■ i its size : not one which seeks to dazzle
because of its vibrant colour, 01 to allure b) dash or
Ol paint ; their appeal is tli.it ol quiet powi i.
A certain sweet gravity is the l, ynote ol the collection
as a whole, and each ol the works included in this
important benefai tion impresses b\ mi an ol it quii I
n ticent artistry.
(9) GEORGE I. TORTOISEMIELL AND SILVER
(5) WILLIAM III. MOTHER-0 -PEARL AND SILVER
(3) CHARLES I. TORTOISESHKI.L AND SILVFI.
(6) QUEEN ANNE MOULDED HORN AND SILVER
I 14) WILLIAM IV. GOLD AND CRYSTAL
(IJ) GEORGE III. GOLD
-£>* <■>
Some Royal Snuff=boxes
By W. B. Boulton
The snuff-box having been always among
the more intimate possessions of its owner, it follows
that a good collection of snuff-boxes is often repre-
sentative of the taste in minor matters of succeeding
generations of gentlemen, and at times throws interest-
ing sidelights upon their personalities and the events
which have agitated their lives. Such considerations
as these are very obvious in looking over a collection
like that of Mr. Sloane Stanley, at Paultons, a gentle-
man who has been kind enough to place his treasures
at the disposal of the writer. His collection is a large
one, and although it contains many boxes of very
costly material, it has been formed upon a design
which contemplated considerations of more interest
than mere intrinsic value. It includes, for instance,
a set of boxes each of which has a direct reference to
one or other of the monarchs who have occupied the
throne of England since the
snuff habit came into vogue.
It is improbable that a snuff-
box exists dating from the reign
of that great enemy to tobacco,
James the First, but Mr. Sloane
Stanley has several which com-
memorate the virtues and mis-
fortunes of his son. The first
illustration shows a fine speci-
men of pierced silver work
surrounding a medallion por-
trait of King Charles ; another
(2), archaically carved in box-
wood, quaintly records the
tragedy of January 30th, 1649 ;
a third (3) is a very good speci-
men of the early use of tortoise-
shell and silver in snuff-boxes. (1) charles
The Stuart tradition is preserved in a very interesting
fashion in (4), a fine specimen of the memorial box.
It is of silver and mother-o'pearl, and, as will be
seen from the photograph, is engraved on the inside
of the lid with a representation of the escape of King
Charles the Second in the Boscobel oak. The top
of the box is carved in low relief with a bust of
Charles the First surrounded with the emblems of
his piety and his misfortunes — the book of Common
Prayer, an axe, and a broken sceptre. It was
probably long carried by some loyal adherent of the
family, for the carving is so worn by use as barely to
shew the design. Mother-o'-pearl was a favourite
material for the snuff-box in those days, as witness
the very chaste box (5) of that material and silver in
which is mounted a medal of William the Third,
commemorating the glories of the Revolution of 1688.
The excellent taste of the
Queen Anne period appears
very pleasantly in the silver
box (6) with a moulded horn
medallion of the queen. The
mouldings and hinge of this
box are charming in their pro-
portions, and the delicate pat-
tern in inlaid silvei surrounding
the bust i • quite typii al ol the
best design of the period. The
exiled branch of the Stuarts is
represented in Mi. Sloane
Stanley's collection by two very
interesting specimens, 171a
small silver box with a minia-
ture Ol lames, the < Mil Preten-
der, as a young man, forming
the lid, and covered with the
I) GEORGE III. AND
CHARLOTTE GOLD WITH
0(8) YOUNG PRETENDER SILVER, WITH SECRET MINIATURE
(7) THE OLD PRETENDER SILVER
11
1 IIARLES I. CARVED BOXWOOD
Some Royal Snuff-boxes
Stuart tartan, and (8) a sil-
ver box lined with mother-
o'-pearl commemorating the
memory of Prince Charlie.
Its attraction for the loyal
Jacobite was the miniature
of that Prince, concealed by
a double lid, clearly shewn
in the photograph.
It must be confessed that
the taste in snuff-boxes
appears to have suffered a
gradual decline with the ac-
cession of the Hanoverians.
That of George the First (9),
it is true, is harmless plain
silver and tortoiseshell, a
return both in design and
material to the designs of
the days of Charles the
First, but the later boxes
are more interesting from
their associations than as
works of art. George the <-+) charles ii. :
, , ., MOTHER-O -PE
Second appears in the gold
medallion mounted in crystal (10), an arrangement
which displays no very great taste. Boxes of George
the Third are very numerous. An interesting one
is that (11) shewing King George and his Queen as
young people carved as a
cameo in onyx, which has
an added interest as having
once belonged to the 1 >uki
ol Ki nt. (121 is a typical
presentation box ol that
reign, with a finely painted
miniature ol the King as an
older man. The taste in
boxes certainly declined
under his son, whose box
(13), presented to Colonel
Congreve, contains a heavy-
gold medallion of the
Regent, b;
U
VMM.
rounded by flamboyant de-
sign in gold, and mounted
in crystal. A similar box
(14) is that of William the
Fourth, also by Wyon. The
reverse of the medal, form-
ing the inside of the lid,
commemorates the restora-
tion of Windsor Castle,
and the back contains a
fragment of oak from one of its timbers. An inscrip-
tion rather naively records that the Castle was built
by William the Conqueror, and restored by the fourth
monarch of that name.
"The Decoration and Furniture of English Mansions during the
Seventeenth and Eighteenth Centuries," by Francis Lenygon
Reviewed by Haldane Macfall (Werner Laurie)
Mr. Lenvcon begins this large volume with
i modest suggestion that it is written round the famous
old mansion, No. 31, Old Burlington Street, with
which he would seem to have business relations,
but it is lar more than such a book would imply;
indeed, 1 may say that it makes a valuable companion
to Mr. M.iri jui n'd's large work on English furniture.
Its value lies in an ordered study of the rooms of the
more important homes of England as a whole — it
breaks ground in this most important field, for we
have had too many books of late upon the details of
furniture torn from their surroundings, without any
hint of their relationship to the rooms for which they
were made. And until a more important and ex-
haustive work is written on the subject, Mr. Lenygon's
volume will be as good a work of reference for the
collector as any of which I, at any rate, am aware.
It is perhaps for the reason that the author has
been bent upon the development of the room as a
whole, rather than upon the pieces of furniture in it,
that he is no good guide for furniture. The student
and collector may be warned at the start that Mr.
Lenygon goes back to the vicious system of dating
pieces of furniture as being of " the end of the
seventeenth century " and the like fatuities. These
labels are utterly valueless. But we may wholly
I rOP I'NlM.OSEl) IN CHASED BRASS KRAMB
Decoration and Furniture of English Mansions
disregard his dates and treatment of furniture ; they
are, when all's said, a very subordinate part of his
book, and had best be ignored. But when he comes
to the treatment of rooms the student will find the
book of considerable value ; and there is much
excellent reading besides.
At the same time, and it may account for the
author's weakness as a guide to furniture, his taste
is on occasion as questionable as his assertions are
dogmatic. These assertions of taste must be taken
with considerable salt. Yet, on the whole, I like
him for throwing down the gauntlet for Kent.
This designer and architect of early Georgian years
has never had justice done to him ; and if Mr.
Lenygon overrates him, he at least does not overrate
him as much as he has been
hitherto underrated. I
thoroughly agree with the
author that Kent produced
much excellent and dignified
work ; but I am bound to say
I see no reason to underrate
the great men that followed
him, Chippendale and the
Adams, in order to raise Kent.
The man's genius cannot be
compared with the genius of
either of these others. Nor
does the fact that Chippendale
created much mediocre design
assist Kent's reputation — for
Kent produced some shock-
ingly clumsy and vulgar
designs.
There is no greater falsity,
none that has been a more
fruitful source of vulgarity,
than the idea that because a
piece of furniture was made
in a certain age that it must
therefore be good. There is
not a single period of the
past that has not produced
abominable designs and
hideous craftsmanship. Kent
and Chippendale both sinned
many sins. It is, in fact, when
we begin to look upon works
of art with the dealer's eye
instead of with the artist's eve,
that we place a wrong value
on all works of art and all
craftsmanship. And there is
no better proof of this than
GIRANDOLE,
in Mr. Lenygon's book, where we find him praising
oi furniture simply because the) are genuine
. but unable to see thai thi y an absi
abominations in form and line. This is all the more
to be regretted, since the author makes no attempt
to evolve the design of furniture, and, therefore, is not
in any way compelled to give si vi ral oi the spa imens
which disfigure m\ otherwise handsomely illustrated
and sumptuous volume.
But to get back to Kent. Then: is a large truth in
Mr. Lenygon's contention that the writers on furniture
are in the habit of judging isolated pieces designed by
the early Georgian architect, torn from their sur-
roundings, and finding them heavy. This is a most
just attitude. They should be considered solely in
relation to the palatial rooms
for which they were intended,
and of which they were a
most worthy part. And al-
most more right is he in his
contention that many of the
looms designed by Kent were
dignified and handsome
places. They were.
Mr. Lenygon's book is also
valuable for the admirable
series of chimney-places illus-
trated, and for his able esti-
mates of their effectiveness as
well as the history of their
evolution.
Some of his examples of the
art of Kent do not bear out
his praise ; on the other hand,
such superb examples as the
oval mirror with the terminals
of women's heads and busts
ending in mermaids' tails in-
crease one's respect for the
man's genius.
Besides the able chapters
devoted to the evolution of
the rooms of great houses, the
author has several valuable
chapters upon subjects only
too often dismissed in vague
generalizations by the writers
on English furniture. The
chapters on tapi
wood-panellings, on plaster
decoration, on the School of
Grinling Gibbons, on decora-
tive paintings, on velvets and
damasks, on lacqw
,,.,
The Connoisseur
work, on carpets, and on the lighting of rooms, are
all well worth serious consideration.
In the treatment of the early Georgian chimney-piece,
a subject which Mr. Lenygon seems to have made par-
ticularly his own, and in which his admiration for his
beloved Kent has full scope, he is most excellent read-
ing. I cannot say that his admiration is as convincing
as his information is interesting ; but it is a valuable
addition to our knowledge of the evolution of the
English room. It is to be hoped that Mr. Lenygon will
ouraged to issue a volume in which he wholly
discards furniture and gives us instead an elaborate
evolution of the interior of the English home from
Stage to stage, consistently carried out, and illustrated
as handsomely as this first essay into the fascinating
field. The book is badly wanted, as a guide to the
student of furniture, as a guide to taste in decorating
ind as an authoritative historical work. He
seems to shape for the handsome business. And if
he can he prevailed upon to do it, I would suggest
that he place his illustrations opposite to his text,
instead of in the maddening system now and again
employed by him whereby we have to be ever refer-
ring backwards and forwards to discover the illus-
tration to which he refers. This business of placing
the illustrations away from the text is nothing but
downright bad bookmaking, wholly without excuse;
and when, as in this case, the illustrations are such
fine reproductions as the author gives us, it seems
almost wicked.
It must be said, however, that the author has made
con iderable effort to carry out this essential quality
of illustration. He would have been more successful
had he not designed his pages by " bunching "
together illustrations that, good in themselves,
destroy each other when flung together without any
sense of design. But, lest the last word I say upon
this interesting work should seem to strike the note
of disparagement, I would add that the volume
contains much valuable matter all too rarely touched
upon by the ordinary writer upon old English
Furniture.
ESSO i . i
VISCOUNT ALTHORP
BY SIR JOSHUA REYNOLDS
In the possession of Karl Spenc
The Caricaturist of the Thirties— " HB
By Egan Mew
In the early days ot the last century the
fashion of anonymity was still cultivated with success.
During those far-off simple times the verse-writer
with an agreeable pseudonym and the satirist who
masked his personality, or even the novelist, who
was merely a "Lady of Title," were supposed to be
people ot importance or gentlemen who wrote with
ease, and dropped their names because they desired
the freedom to be witty. Nowadays the nameless
are the insignificant ; but times have changed. The
vogue of the anonymous was one of the factors in
the enormous success which befell that once famous
caricaturist of the early nineteenth century " HB."
But other causes of his popularity were equally potent.
For example, his portraits were admirable, and he
possessed a pleasant sense of humour. He was a
fair, but not a splendid draughtsman ; he wa
and acute, and, above all, his methods and his
manners were instinct with the spirit of his period,
that wonderfully conventional period when all the
world was young and Queen Victoria reigned in the
hearts of her subjects.
After the violent and powerful Gillray, the gay and
accomplished Rowlandson, the mirthful, but inartistic,
Bunbury, and others of that time, the art and craft
oi English political caricature fell upon evil days
gfc
rEMPTING AIM
The Connoisseur
' V
-
NO. II V( ONTRAST (1S38)
.mil almost disappeared. But about 1830 a clever
miniaturist turned his thoughts towards this neglected
field and soon developed a highly original style.
"KB" took his first few drawings to Maclean, who
published them with immediate success; but the
artist remained a man of absolute mystery for many,
many years. It lias long been generally known and
often forgotten that this reformer of satiric political
was John I loyle, the father of the illustrator
\ ",vi and designer ol the Punch
cover, the ono equally famous "Dicky" Doyle.
How the curious monogram " hB " was arrived at is
unknown. Some people have thought that the ailist
ieni il, as .1 w ritei 1 ailed
1 rowquill " 01 a painter " Mahlstick." It
ha i also been 1 cplain d thai 1 his lettei ing wa i merely
an an. hi 11, rni and duplication ol the artist's initials
villi a line between
1T1
tlniii. thus making KB. This is rathe) elaborate and
, :, 1 ince more full veral
iiined in plain
running lettei II B., bul in any 1 .1 .-■ the reason is
1 nai ira easy to
power in the land, although
. inued in be an inviolable
secret. In Doyle's earliest work there is a touch of
the bitterness and acrid personality which was so
marked a feature in the productions of Gillray and
his school. But very shortly his point of view softened
to an urbane wit, and his manner of drawing adjusted
itself to the lines of the popular lithographic method
then coming into general use.
When the first illustration here given was drawn,
" HB " had been some years before the public, and
his political sketches were immensely appreciated.
He had been the amusing artistic commentator on
the last years of George IV., and when this drawing
was made he was depicting a closing incident in the
reign ol William IV. It represents a little affair in
which l.iird Melbourne played an important part as
the tempter. Sir John Campbell, of Stratheden, had
resigned 1 1 office, and bis lady had been made a
She 1^ seen handing on the apple to her
\. fun, and leading him back to the tree ol honour,
ovei which William IV. presides. Such quiet
humours delighted the public in the thirties, and
the frequently published sketches ol " HB " were
handed from one to another and talked about on all
sides. At that time the libraries lent collections of
these sketches and othei bonks to hosts who found
some difficulty in entertaining their guests. There
The Caricaturist of the Thirties
seems to have been a considerable effort needed to
keep society from being bored in that far off time,
and the somewhat mild wit of " HB " exactly suited
the situation when everybody was outwardly so highly
genteel. There remained, however, still something
of the mad, bad, sad days of George IV. in social
life, and there were people left who said of that
passed period, but, "Ah! how it was sweet!" and
looked about them for rather more pungent wit than
Doyle supplied. Thackeray, who had as just a fear
of Mrs. Grundy as anyone in his pusillanimous day,
found " l-B " a little bit timid by comparison with
the eighteenth century draughtsmen whose work the
writer of the Four Georges knew so well. He said
of John Doyle — " You never hear any laughing at
' hB ' : his pictures are a great deal too genteel for
that — polite points of wit which strike one as ex-
ceedingly clever and pretty, and cause one to smile
in a quiet, gentlemanlike kind of a way." With the
passage of time and the utter forgctfulness which so
soon overwhelms political history, even that quiet
smile may be lost to the present generation. Hut
the excellent portraiture remains of lasting value to
the student, and the very essence of the spirit of
the period is preserved in these old drawings and
examples of simple humour. The second cartoon is
especially good in its portraits oi Melbourne in the
and Brougham and Wellington, and well
express.-, the then gem rail) a. < epti d point that
Brougham would take an action which the Duke
would consider bad form.
The life of the coaching road in the thirties
suggested many pictures to "l-B" — the usual
aboul those politicians who are in office wishing to
hold on, and those who are out wanting to come in.
In a drawin- of this kind Doyle gives one of his
delicate suggestions of Queen Victoria, who i.s often
thus slightly indicated in his pictures as though it
were bad taste to make any direct criticism on her
conduct of affairs. "l-B" was ever ready to turn
any popular scene at the play or any fashionable
picture to the uses of caricature. Morton's farce of
The Invincibles was immensely popular with our great
grandfathers in 1839, when the sixth cartoon was
published. Madame Vestris, Fawcett and Bartley
gave this piece considerable liveliness and endowed
it with long life. In the second act two old soldiers,
Brusque and O'Slash, are routed by a company of
ladies disguised as soldiers, and " HB " uses the
incident to tell of a rumoured defeat of the Duke
of Wellington and Sir Robert Peel at the hands of
the famous ladies of the bed-chamber. These little
y (i,
NO V. READ1 ■■■'■ i in H i O] ' I IOH1 BUD G]
4U1.TU01 ■.. M'l i
\ l BRILLIANT
The Caricaturist of the Thirties
incidents always amused the public, and when the
satirist pictures the ladies of the Court he always
makes them a most effective and agreeable company,
so that the sympathy of the outsider was generally
with the palace party.
Doyle continued his sketches of political life for
so many years with so uniform a success that he
became an institution and formed a new race of
caricaturists. That his work was entirely free from all
offence and could hardly wound the most susceptible,
that his portraiture was excellent, and his wit ready,
piquant and of the moment, were the facts that made
him so important to his particular branch of art.
It was thought by critics of his own day that he
would have been a greater artist had he worked on
the same material and with the same tools as Gillray,
the older Cruikshank, and his other predc -
But this is very doubtful ; the facile graces of the
chalk on stone suited his particular gifts fa
than the verities ol engraving. Although " HB
formed a new school of political caricature his own
work passed somewhat rapidly into that limbo of
forgotten humours which awaits even the most
popular. A crowd of witnesses to his
followed his style, but his personal drawings were
almost forgotten when he died in 1868. Bui
ephemeral as much of his work appeared
during the last generation, the whirligig of Time is
already bringing in a revenge or two, and the
political sketches of " l-B " are taking their proper
place in the history of our governments and the
story of our satiric art.
NO. VI. — SCENE FROM THE FARCE OF " THE IN
VS < 1 1 1 ', P] i;i 1 n'Mi D \ 1 1 hi ..111 \' in
The Mediaeval Ivories in the Liverpool Museum
By Philip Nelson, M.D.
Part I.
'I'm magnificent collection of ivories in the
possession of the city of Liverpool is, without doubt,
one of the finest in England, and justly famous
throughout Europe. This collection was the gift of a
citizen of Liverpool, one Joseph Mayer, Esq., F.S.A.,
a keen collector, and an eminent authority on all
branches of the antique.
The greater portion of the series, which forms the
subject of this article, was collected by Gabriel
I ri in wiry, who, upon his decease, bequeathed them
to Count Pulszky,a Hungarian noble ; but he, having
suffered owing to the war of the independence, was so
reduced in circumstances
i to I"- compelled to
part with his treasures,
which thus, in 1856,
came into I 1 po
of Mr. Mayi r.
B F01 passing on to
the more im
portant examples which
the collection contains, it
would no doubl bi ol
interest to review, in the
briefest possible manner,
*iv and evolution
of this branch of the
si ulptor's .in.
i ipo
carvings were wrought, was
derived principally from
the tusks ol
both African and Asiatic ;
tn damp and air and the
il is nun
ble, from
tl probab [.— , .,.,, „
also that the mammoth (Elephas primigenius) — which
still not unfrequently occurs frozen in the swamps of
Northern Siberia — also yielded some of the material
for the early workers in ivory.
Among the Scandinavians, however, the walrus was
the main source of supply, as also was the case in
Germany and Britain.
It is difficult to explain how some of the larger
ivories which have been preserved to us were pro-
duced, as some examples measure no less than 15 in.
in length by 6
much as .', in. thi
GERMAN w.
06
:i breadth, while they are as
jossibly the ancients possessed
a method of bending
ivory — a secret now lost
— since no tusks could
now be found to yield the
necessary surface for the
above work.
The earliest examples
of carving are to be found
upon the antlers of deer,
discovered during re-
searches into cave life,
which are r e m a r k a b 1 e
alike for their excellence
in execution and their
fidelity to nature. Ivory
was largely used both in
Egypt and Chaldea, and
it is recorded that the
buildings of J erusalem
were ornamented with
this ma 1 .rial, Solomon
having a throne of ivory,
and Aliub an ivory house,
whilst the phrase " out of
the ivorj palaces " must
be familiar to all.
Among thr Greeks
Statues ol wood overlaid
:y with thin plates of ivory
The Medieval Ivories in the Liverpool Museum
XO. II. — BOOK-COVER GERMAN WORK, IOTH CENTURY
were not infrequent, and were known as Chrisele-
phantine ; of such works perhaps the best known
were the figures of the Athena Parthenos, at Athens,
and the Olympian Zeus, both of which were from the
hand of Phidias.
Among the Romans ivory was not used to any
very considerable extent — at least tor statuary — though
we are informed by Pliny that Pasiteles, who nourished
XO. III. — BOOK-COVER GERMAN WORK, IOTH CENTURY
■So B.C., produced a statue of Jupiter in this material,
which figure was preserved in the Temple of Metellus.
Subsequent to this period we have consular diptyches
up to the sixth century, of which the Mayer collection
contains no less than three fine examples, out of a
known total of twenty-one.
As previously mentioned walrus ivory was employed
by the Northmen, and of this substance a number of
NE TRIPTYCH SHOWING ORIGINAL COLOURING
The Connoisseur
lu
%^MJ
NO. VIII. — APPLIQUE FIGURE OF ST. JOHN THE BAPTIST
oen wen discovered in [831 in the island of
Lewis, which arc preserved in our national museum.
1 n date n the tenth century, of
combs, caskets, and
other articles carved in ivory for domestic use.
We will now proceed to describe in some detail
1 I 1 ollection which, either
from their antiquity or beauty ol design, meritacloser
n will endeavoui to
ological sei ;u< nee
Upo :af of a diptych, apparently executed in
i) during the ninth century, is carved a repre
1 arefully
. whilst
from above a] p d hand ol God.
The companion leal to thi
now in the 1 1 illi 1 tion at South
in. by 2| in.
1 il the tenth
century, and represents St. Peter removing from the
mouth of a fish the tribute-money, whilst behind are
a group of three Apostles and the Saviour ; the whole
design is surrounded by a plain margin, whilst the
background is perforated by small squares, producing
the appearance ol .1 draught-board. It measures 5 in.
by 4J in. (Xo. ii.)
The following panel, from the cover of a book, is
very similar to the preceding one, and like it is ( lerman
work ol the tenth century. The margin is plain, and
encloses a picture of Christ blessing the Apostles.
The background is perforated with a cruciform design,
'The ivory measures 5 ,'„ in. by ■]': in. (No. hi.)
The next piece is a rude representation of the
Nativity executed in Morse ivory, probablj in England,
and is approximately of the tenth century. The Virgin
upon a narrow bed which slopes somewhat to
[0 ph is seated m an attil tide 1 'I
deep thought. The head of Mary is resting on a
pillow supported by a female attendant. Beneath the
aviour in a cradle, whilst above lli s
The Mediceval Ivories in the Liverpool Museum
•ROM BOX OF UTH CEN1
figure are the ox and the ass. This specimen was
originally in the possession of W. H. Rolfe, Esq., of
Sandwich. Height 4§ in. by 3! in. (No. iv.)
A Byzantine triptych, in a remarkable state of
preservation, which still bears traces of early colouring,
shows us, on a central panel, beneath an open-work
canopy, supported upon spirally fluted pillars, the
crucified figure of Christ, on either side being the
figures of the Blessed Virgin and St. John. The two
leaves bear upon them three half-length figures, the
upper ones representing angels, the middle pair St. Paul
and St. Peter, whilst beneath are an Emperor and
his son. Panel, 6£ in. by 5 \ in. : wings, 5,; in. by
2i in. (No. v.)
The central panel of a triptych, of Byzantine style,
is very similar to the previously described piece, but
has in addition the half-length figures of two angels.
The canopy surmounting the group — which is now
much injured — was of considerable beauty. This
measures 6 in. by 4 in. (No. vi.)
NO. IV. — ENGLISH IVORY OF THE IOTH CENTURY
Following this we have a panel, probably from a
box of Byzantine work of the eleventh century, which
is divided horizontally into two portions. In the
upper section are representations of the Nativity and
the Adoration, whilst beneath is portrayed the Cruci-
fixion. Above the whole is an acanthus-leaf border,
upon which traces of gilding still exist. Size 5 in. by
4 J in. (No. vii.)
No. viii. represents in relief the full-length figure of
St. John the Baptist standing on a platform giving the
benediction with his right hand, which is, however, but
slightly raised, whilst in his left hand he bears a roll,
upon which is written in (Ireek the words : " BEHOl D
Mil I 1MB OF GOD, THAT TAKETH AWAY Tilt, >IN- < H
the world." The figure, which is somewhal too tall,
is habited in a large gown caught in at the waist by a
girdle, whilst from the shoulders there falls a cloak with
a richly furred border. This ivory probably belongs to
the later period of Byzantine work, and is affixed to an
oblong sheet of ivory, which is modern. 1 [eight 8^ in.
*&^
1SJT^^3=
N©T^ ANP QU^RI£S
[The Editor invites the assistance of readers of
I n Connoisseur Magazine who may be aide to
impart the information required by Correspondents.']
Unidentified Portrait.
Sir, — I enclose a photograph of a portrait by Sir
Peter Lely, which has lately come into my possi ssion.
i '.in you give me any
information as to whom
the portrait represents ?
I am afraid I cannot
help you very much, as
I have been unable to
trace the original source
whence the picture came,
but probably from some
collection in Devon or
( !ornwall. Noi can 1, on
ml ol its si/e, well
send you the original for
inspi i i mim,
I'i: frame, evidently
original, and made lor
tlv picture, is ol carved
■a 1. gilt. 1 have lately
had iln' ;n' nip ' i :aned
and fra me restored,
Though unsigned, I
think there is Sit 1 1 di iubl
he artist, and in
niion I am sup-
ported by friends who
know I
and win., aftei
tlm pii ■ i nined those at 1 [ampton
Court. The flesh tints are beautiful. The pit ture is
It i possibl thai tlv portrait ma;
iri i' i' print .ii in i xistence.
Thankin ipation,
faithfully,
(Dr.) 1 VV,
An Ado
;. i [-he Second
!
rds in my home, a little
ENTIFIED PORT
picture of this subject that no connoisseur was able
to ascribe the painter of, and looking round such
galleries and collections as I had access to, and
scanning descriptions of pictures in art journals and
the catalogues raisonnis, I met with nothing that
at all answered to the delicate handling, the firm,
masterly touch, and more than Venetian force of
brilliant gem-like colour-
ing, reminding you in
their purity of rubies and
turquoises.
Several conclusions,
accurate and inaccurate,
I arrived at ; hundreds
of persons saw it without
any particular apprecia-
tion. It was, without
doubt, something like
three hundred years old,
although pictures born
a few years ago, and
already sloughing oil or
cracking, have nothing
of the everlasting youth
and vitality which cha-
racterise it ; then it was
quite evidently painted
by a Dutchman, who
was not the first in a
long succession of art-
ists. He had clearly
spent many years of
residence and study in
Italy, and finally to wind
up those ol my conclusions which proved correct, it
was almost certain that a visit to an art gallery in
Amsterdam or Rotterdam would bring me face to
ith .i\\ example or examples of the work of the
unknown in
vo inaccurate i onclusions, namely, that
the winl. had suffered in two ways, hirst, each of
the centra] figures, crowned with actually golden
lone, had pitchball eyes, which, not unnaturally, I
ii to i tout hing b) a vastl) inferior hand,
who had. so to speak, carelessly effaced the original
beaut} ol light and intelligence. Then, in the second
Notes and Queries
place, the fingers of the Virgin were, in my opinion,
too taper; this might have been caused by the artist
using some transparent glaze for the flesh tints on
either side of the finger bones, through which the
strong light shows unobstructed by the denser bone.
This glaze might easily have been rubbed away by
generations of strenuous cleaners.
At length the opportunity occurred of visiting the
galleries of Holland and Belgium, and in Amsterdam
and at the Hague I came across work for the first
time, after a quarter of a century's careful
which was by the same hand, but by no means of
equal quality, and the long-sought master proved to
be Franz Francken the Second, called at various
periods of his life " der Jonge " or " den Oude," to
distinguish him, as was necessary, from his father and
his nephew. Both he and his father were in their
time Dean of the Guild of St. Luke at Antwerp, as
was his nephew, I believe. His sister Isabelle was an
artist, who married Frank Pourbus. No fewer than
thirty Franckens are chronicled as painters ; it seemed
to run in the Flemish blood at that time. Only one
or two attained any real distinction save the Second,
who bourgeons out and rises most remarkably from
the dead level to which his relatives safely adhered.
Nevertheless, nearly all who have dealt with him
have either confused him with some ignobler relative
of the same name, or otherwise done him a most
serious injustice by representing him as a mere
draftsman of accessories, who stooped to the pour-
trayal of heraldic devices and mythological trifles,
or the grotesque inventions of griffins or demons.
Twenty-five years' reverent study of my one example
enables me with the utmost confidence to clear his
memory from this aspersion, and if you feel inclined
to give your readers a copy of the photograph taken
by my friend Mr. Ambler, of Manchester, I venture to
think that any disinterested person will declare that
so very human a man as the one with whose portrait
you favoured us in the description of the King of
the Belgians' collection, and whose work was so
intensely real and Frank, would be the most unlikely
to waste his time or talents on a witch's dance or the
interior of a picture gallery with the most servile
copies of some inferior artist's work in frames that
might have been valuable aids to a carver and gilder.
This man was the intimate friend of Rubens and
Vandyck, each of whom painted a noble portrait of
him : and Vandyck etched the one by Rubens, whilst
his own, which was bought by Lord Dunstanville in
1.S24 tor the reasonable sum of ^90 15s., was
by Hendriot and Pierre de J ode.
My picture is on copper, strongly backed by a close
network of wood-frame, jointed as by the m
I i mona violin. It measures approximately
i( in. bv 11 in. Only one art expert, so fai as 1
know, has corre< tl> described either him or his work,
mil that is the unknown writer in 1 .an lUSSe's / n Versa
Biography, under the article "Franz Irani ken the
Second." He informs us that he studied in Germany
and Italy, making the acquaintance of Rubens at
Rome, and after drawing inspiration from the work
of the Venetians, he returned to his native town of
Antwerp — in whose galleries I could find no
example of his work — where in 1605 he entered the
Guild of St. Luke, of which body he was made I lean
in 1614.
Trusting that these few particulars, to which I have-
been chiefly incited by your interesting reference and
portrait, will not be regarded as impertinent by you
or your readers,
I am, dear Sir, yi an 3 n spei tfully,
Edward Neild.
1' \l\ I ING BV R. l'l- MBERY.
Dear Sir, — Will you kindly ask the readers of
The Connoisseur Magazine if they know the
English landscape painter, R. Pembery? I have
in my collection of old pictures a most wonderful
English landscape signed " R. Pembery." No date,
but the picture is of the time of Lawrence, ( Gains-
borough, etc. I cannot understand how it is possible
that Pembery is in no book of painters, for the land-
scape I have is liner than Hobbema, Ruysdael, and
anv other of the greatest masters. For the honour
of the English School, Pembery must be discovered.
The architecture of the farm and the wooden bridge-
shows a view in the South of England. I tried main
photos of the picture, but without success, for it is
all over so yellowish, and it has never been cleaned
nor re-lined (rentoilt). Enclosed photo is the " best"
I got. Nothing of the form is reproduced (a droitt 1.
My English friends (artists) also never heard of
Pembery. The most wonderful English landscape
painter unknown ! No doubt but The < lONNOISSEUR
\l \c\ . im and its readers will discover him.
Yours sincerely.
Edward van Spe s bri n < k.
Unidentified Portrait (Augi i Ni mber).
I iear Sir, — In your number of The Conn
\l\..\ ine for August, Mr. Cont Michiel asks for
information inidi ntified portrait (No. 1 1.
1 have no doubt but that it is of Mar) Robinson
(■■ Perdita"), and though difficult to assign the artist
from tins photograph, it bears the look ol 1 Gains-
borough's, or perchance Allan Ramsay's, work,
ithfully, Harold Mai et, <
The Connoisseur
Km igious Prints.
Dear Sir, — Can you
assist us to find two
prints, one Christ Heal-
ing the Sic/;, and the
other a religious musi-
cal picture. They are
wanted to bind up with
.1 ipi i ial copy of The
Imitation of Christ. The
si/.e is about 6 in. by
4!, in. It it is impi >
ble to get this size, we
should I"- glad to have
larger pictures, that they
might be reduc< d b)
photography.
Yours truly,
J. !■:. Cl \n ■
l\ll'l N I II II D
Col \i M Hoi
I l| \i: Sir, — The mi-
ni mtified country house
n prod need i n T 11 E
< onnoissi 1 r Maga-
zine of J uly is the
" pavilion " at 1 laarK 111 -
li\ a banker called I lope,
Holland bought it. tl is
back view. It was built
from whom the King ol
now a museum.
me, yours truly,
Vic 1 i>k i.i Stuers.
William Shayer's
Descendants.
Dear Sir, — I should
be glad to know whether
any of your readers could
assist me in ascertaining
if any of the sons of
William Shaver, artist,
of Shirley, Southampton,
are still living, and what
address would find them.
And greatly oblige,
Yours faithfully,
A Southampton Man.
German Painter,
" Leiter."
Dear Sir. — I think
F. M. L. is making a mis-
take in the name. There
is a German painter
" Sytei," also called
"Saiter" (Daniel), who
painted scriptural and
mythological subjects.
Yours truly,
E. Stun LING.
Books on Papal Coins, Etc.
Dear Sir, — What books or magazines have ap-
leared with descriptive reading on Papal coins"- 1
Mso books on military badges, buttons.
Yours faithfully, K. James.
I .-. ' I ' K. I'l Ml'
The Picture Sales of 1909
There seems to be a growing tendency to crowd
the great picture sales into the narrow space of eight or
ten weeks, in accordance with a custom which is not
founded on anything more substantial than tradition :
proprietors and auctioneers apparently act on the assump-
tion that pictures sell better in May and June than in
March and April. There have been numerous instances
of the fallacy of this theory, but nothing seems to kill it.
From November to the last week in April there was, in
London at least, an almost complete blank so far as either
important collections or fine individual pictures were con-
cerned. The commercial wisdom of crowding all the big
sales into the months of May and June may be very
seriously questioned, for it is obvious that the sudden
glutting of the market in this manner, if it does not affect
the great pictures, must tell seriously on those of a lower
tank i if importance, which indeed form the bulk of every
year's transactions. As at present arranged, the dealers
do not recover from one heavy sale before another looms
in the immediate distance. With purchases amounting
often from ,£20,000 to £40,000 in a day, even with a
By W. Roberts
catalogue well filled with commissions, main- dealers
must find a difficulty in so arranging that the majority
of their purchases are "placed" before the next consign-
ment comes in. But this is a matter for the consideration
of the auctioneers and dealers rather than the public.
That the before-mentioned fallacy is real is borne out
by the fact that the only two important sales held in
February and March took place in Edinburgh. At
Dowell's rooms the collections of J. Irvine Smith and
John Ramsay (February 13th and March 5th and 6th
respectively), consisting of pictures by Scotch and modern
Dutch artists, produced exceedingly good prices, some of
which were record ones, so far as regards auctions in
England and Scotland.
The important picture sales in London this season
have been unusually few in number, and below the
average. Last year seven sales, with totals of up-
wards of £10,000 each, produced an aggregate sum of
£ ;i 1. 1 v. whilst this year five sales alone totalled up to
the enormous amount of £360,334. These five sales
may be thus tabulated : —
OWNEK.
Character m cy>i i e< u..\.
Sir John Day ...
Sir Cuthbert Quiltei
E. H. Cuthbertson
H. Gaskell ...
Sir 1. I). Milburn
bail 11/. hi and Dutch
Ancient and Modern
Early English and Barbi;
Modern English
Early English and Model
159
Mm 1 ; 14 .
My 9
May 21
June 10 II.
Thai.
L
01,041'
N 7 .-Sn
7\)S"
55,636
41,506
For the second year in succession the honours of the
season fell to a work by J. M. W. Turner. Last year
the beautiful Mortlake in the Holland sale realised
:,6oo gns. ; this year Mr. Gaskell
example of the
artist, The Burning of the Houses oj I
brought just 100 gns. less, i.e., 12,500 gns. This year,
as last, a number of examples of Turners
sale, and the prii es good :
Pictures and Drawings by I. M. W. Turner.
Title \
l'i 1. a I:
Burning of the Houses of Parliament, 35 in. by 48 1
East Cowes Castle, 36 in. by 4S in., 1S35
Venus and Adonis, 61 in. by 47 in., circa 1S06
Windermere, 12 in. by IS in., drawing, circa 1835
Kiisnacht, Lucerne, 12 in. by 19 in., drawing, 184;
(iaskell
1 htillcr
I ne II
12,500
6,500
The Connoisseur
Pictures and Drawings by J. M. W. Turner. — Continued.
Title and Size and Date.
Sale.
Price Realised.
[ngleborough from Hornby Castle, i i '. in. by 16 in., drawing, 1S1S
Lucerne from the Walls, 12 in. by iS in., drawing, 1842
Folkestone, Twilight, 18 in. by 26 in., drawing, 1824
The Devil's Bridge, 31 in. by 24 in., circa 1S15
April 30
Nettlefold
Nettlefold
Gaskell
Guineas.
1,300
1,300
1,000
S60
Curiously enough, this season, as last, the second
highest price of the year was paid for an example of John
Constable, the beautiful Arundel Mill and Castle, 27 in.
by 37 in., which in the Gaskell dispersal brought
8,400 gns. — a very different sum to the 75 gns. paid for
it at the artist's sale after his death. Notwithstanding
the high prices of last year and this, the 8,500 gns.
paid in 1895 for Mr. Huth's Constable, Stratford Mill,
remains the record. One other Constable occurred
for sale, Professor Bertrand's 1 'armouth Jetty, with
boats, 27 in. by 35 in., offered on April 24th, and
was considered not to have reached the reserve at
1,380 gns.
Although the supply of "old masters" has not been
abundant — as one would say of a plentiful crop of
apples— yet one of them ranks third in the scale ot
prices paid, and so we may group them together in
one table : —
N wti. of Artist.
Title and Size of Picture.
Sale.
Price
Reai ised.
Guineas.
Rembrandt...
Descent from the Gov,, ss in. by 42 in., 1651...
July 2
7,800
Murillo
I111111 .1. nl. He Conception, 74 m. by 53 in.
Quilter
4,Soo
tez
Mariana, wife oi Philip I\ ., S s in. by 47 in. ...
Quilter
2,300
V M L( 5
: old Lady, 46 in. by 34 in., 1669
Feb. 2
2,0,0
V M ■ -
Portrait oi Lady and Gentleman, 45 in. by 37 in.
July *
2,150
A. Cuyp
Town on a River, 41 in. by 52 in
J"iy 2
1,680
...
Pallavicino, 02 in. by 47 in
Quilter
1,600
1. B. Pater
tie with figures, 10 in. by 13 in.
Throckmorton ...
1,450
P. Le Sire
Portraits of Lady and Gentleman, 33 in. by 26 in
, ">37 ...
Quilter
1,040
11 ...
Island near Venice, 36 in. by 43 in
Quilter
S60
1. ( >. hterveldt
1 'he M usic Lesson, 57 in. by 20 in
Quilter
S50
Brun
Portrail ol a Lady in wdiite, 31 in. by 14 in.
J«iy 2
90O
The fourth highest price of the season— 6,400 gns. —
lid for Sir Cuthbert Quilter's beautiful and
unusual example of Sir Joshua Reynolds, Venus
and Cupid. The Early English school of portrait
painters form an important feature in the sales of the
past season — important on the threefold score of
quality, number, and price, six pictures exceeding the
highest price paid last year ; the pictures which reached
the necessarily arbitrary limit of .£1,000 being as
follows : —
N VME 1 IF ART1 1 .
1 , , lnd Size oi Picti re.
Sale.
Price
Realised.
Guineas.
| Reynolds
ind Piping Boy, 50 in. by 39 in.
Quiltei
6,400
Sir H Raeburn
Sn |ohii Mi'.el.ur. 04 in. by 60 in.
luly 16
6,200
■
j 14 in.
Milburn
5,200
1 .. Romney
ickburne, 50 in. by 40 in.
Cuthbertson
5,200
lej
Mi \ ivbery, |0 in. by is in. ...
Cuthbertson
5,100
Sii 1. Reynolds
mi do- 11. ■ by 40 in.
Cuthbertson
4,950
G. Romney
1 in
Quilter
4,800
si. II. Raeburn
i . Blisland, 57 in. by 44 in
Inly 2
3,400
...
ej , ji 1 in. bi 25 in.
Milburn ...
2,800
1 Law rem e
>. 25 in.
■ I (.0 in. ...
Milburn
1,850
.
July 2
3ii II. Raeburn
■ i \l»'vnc, ;o in. bj i' ' in
Milburn
1,600
G. 1
by 27 in
I11W 10
1,500
..
Portrait of a Lady, 50 in. by 40 in.
July 2
1,45°
...
1 rompi 1 30 ii ■ ; in
Milburn
1.400
il .1 Lady, jo in. bj 25 in.
Inly 7
1,300
Sir II. Raeburn
Lady Broughton, 35 in. by 27 in.
...
1,150
s kins, ;o in. by 25 in. ... ... ...
Behrens
1,000
1 ipwards ol £ 1
eleven which reached that limit I 10m this
story of]
.1 wide step, but we may conveniently regard it here as
the natural sequence. In the following table of modern
English u again taken ,£1,000 as the general
bul a few pictures which have nearly reached
that limit are also included: —
/;/ the Sale Room
Name of Artist.
Title and Size i >i r
Sale.
Sir II. von Herkomer
The Last Muster, 82 in. by 61 in
Ouilter ...
Sir 1. E. Millais
Murthly Moss, 50 in. by 7z in.
Quilter ...
Quiltei .-.
Quilter ...
Quilter ...
F. Walker
The Bathers, ;6 in. by 84 in
Holman Hunt
The Scapegoat, ;i in. by 55 in
Sir E. Landseer ..
Midsummer Night's Dream, 12 in. b]
Lord Leighton
Cymon and Iphigcm. . 1.1 ::
Quilter ...
Cecil La wson
The Donne Valley, 41 in. by 53 in
D. G. Rossetti
La Bella Man-, 62 in. by 46 in.
Quilter ..
Gaskell ...
David Cox
Flying the Kite, iS in. by 28 in.
David Cox
Outskirts ol a Wood, JS in. by (6 in.
Quilter ...
B. W. Leader
Parting Day, 44 in. by 71 in.
( milter
July .6 ,..
Peter Graham
Evening : Highland Cattle, 64 in. by 48 in.
D. Cox
Washing Day, 17 in. by 25 in. ...
Gaskell ...
B. W. Leader
Green Pastures, 44 in. by 71 in. ...
Quilter ...
Sir L. Alma-Tadema
Rose of all the Roses, 15 in. by in.
D. Cox
The River Llugwy, 18 in. by 25 in.
Gaskell
G. Vincent
Greenwich Hospital, 28 in. by 36 in.
Quilter ...
Sir E. T. Poynter ...
Under the Sea Wall, 22 in. bv 14 in.
Quilter ...
I. Phillip
Selling Relics, 62 in. by 84 in. ..
Quilter ...
Sir Luke Fildes
Return of the Penitent, 52 in. by 100 in.
Gaskell ...
D. Cox
Counting the Flock, 23 in. by 34 in.
Gaskell ...
Sir L. Alma-Tadema
Spring Time, 34 in. by 20 in.
Garland .
3,100
3,000
2,900
2,800
2,400
2,250
2,250
2,000
,670
,651
,200
The sensational feature of the year's sale has been the
vogue of pictures of the Barbizon and modern Dutch
Schools, and even the high prices of the previous two or
three seasons have been, in most cases, completely
eclipsed. Curiously enough, and as an illustration of
the uncertainties of the auction room, neither the highest,
nor the second, nor even the third or fourth highest
price of the season fell to a Corot. The honour this year
has fallen to J. F. Millet. Early in May last one of his
pictures, DArrive'e an Travail a r.-lurorc, realised
.£10,000 at an auction in New York, a Corot brutight
^6,000, and a Troyon upwards of ,£5,000. Our English
sales cannot show such figures as these; but Sir John
Day's little Millet picture, The Goose Maiden, heads this
year's modern French pictures at 5,000 gns., and Mr.
Cuthbertson's example of Th. Rousseau, Tlic Winding
Road, comes second at 4,600 gns., both "record'' prii es
of the respective artists in this country, whilst fresh
records of nearly every other member of the Barbizon
and modern Dutch Schools have been established this
year. The following table contains a list of the pictures
which fall into this group, and which have either reached
or nearly reached the limit of four figures. The works of
each artist are grouped together, and the order is accord-
ing' to the highest price reached by a particular picture
of the various painters : —
Name of Artist.
Title and Size of Pii turf..
Sale.
Rem ised.
Guineas.
J. F. Millet
The Goose Maiden, 13 in. by 10 in.
Day
5,000
T. F. Millet
Le Falaises, 37 in. by 40 in.
Milburn ...
1,100
|. F. Millet
La Cardeuse, 35 in. bv 22 in.
VanEeghen
I. coo
Th. Rousseau
The Winding Road, it> in. bv 25 1
Cnthbcitsc.n
4,600
E. Van Marcke
Cattle in a Storm, 31 in. by 45 in.
( uthbertson
3,800
M. Maris
The Four Mills, 9 in. by 12 in
Day
3,300
M. Maris
Feeding Chickens, 14 in. by S in.
Daj
3,000
Ch. Jacque
Ch. Jacque
The Flock, 32 in. by 39 in.
1 111 lib. it son
3,200
La Bergere, 32 in. by 25 in
hi
'. i. 11
Ch. lacque ...
The Shepherdess, 32 in. by 25 111.
Ch. Jacque
The Shepherdess, 32 in. by 25 in
( uthbeltson
J. B. C. Corot
Landscape with Pea-ant, 10 in. bv 22 in.
( uthbertson
3,150
J. B.C. Corot
Chemin de la Roues, 26 in. by 20 in.
m
|. B. C. Corot
The Ferry, 18 in. by 24 in.
Da 5
1. B. C. Corot
Une Symphonic, 47 in. by 33 in.
Milburn
1. B. C. Corot
Environ- d'Arleux, 25 in. by 17 in.
Mil 11
I. B. C. Corot
Entree au Village de <\.mbou, iS in. h\ • 1 1
J. B. C. Corot
Le Coup de Vent, 18 in. by 21 in
I. B. C. Corot
Woodcutters, 2; in. by 32 in
D j
J. B.C. Corot
La Chauinieres des I lune-, IS in. bv 22 in.
1 .
J. B. C. Corot
Souvenir de la Villa Pamphili, 15 in. h.
I. B. C. Corot
Souvenir d'ltahe, 15 in. by 24 in.
Daj
1. Maris
View overlooking a Village, 50 in. by 40 in.
( uthbeitson
J. Maris
Near Dordrecht, iS in. by 20 in.
f. Maris
Dordrecht Cathedral, 21 111. bv 30 in., drawing
Day
1. Maris
Dordrecht, 20 in. by 24 in.
Day
1. Maris
j. Maris
The Bridge, 20 in. by 2.S in., drawini
Amsterdam, 17 in. by 14 in-
\ an Alphen
1,250
I,2C0
J. Maris
Low Tide, 24 in. by 20 in.
1,151
The Connoisseur
Name ok An i hi.
Title and Size of Picture.
I. Maris
J. Man,
J. Maris
Jules Breton
A. Mauve ...
A. Mauve ...
A. Mauve ...
A. Mauve ...
A. Mauve
A. Mauve ...
\ Mauvi
'■ "
J. Dupre ...
C. Troyon ...
C. Troyon ...
C. Trovon ...
C. Troyon ...
J. Israels ...
I. Israel, ...
J. [sraels ...
i ',. I . 1 laubign)
('. 1-. Daubigny
c. F. Daubigny
C. 1-'. Daubigny
I . K Daubignj
I I. 1 larpignies
II Harpignies
II Harpignii
11. Harpignies
11. Harpignies
N'. Diaz .
N. Diaz ...
V Di
Ploughing, 1 6 in. by 29 in.
nen by a Stream, 22 in. by 15 in. ...
Scheveningen, 21 in. by 16 in
Le Goitter, 29 in. by 47 in
Troupeau de Moutons, 20 in. by 36 in
1 in 1 de Bois, 22 in. by 30 in. ...
Road between Two Dykes, 19 in. by 14 in.
Returning to the Fold, 17 in. by 25 in., drawing
Shepherdess ami Sheep, 12 in. by 20 in.
Shepherd and hi- Flock, iS in. by 24 in., drawing
Return of the Flock, 21 in. by 18 in
Tannage an Moid du Mare, 19 in. by 29 in.
La Soulaire, 8 in. by 1 1 in
Cattle by a River, 32 in. by 45 in
Cattle in a Pasture, 20 in. by 2S in.
Shepherd and Sheep, 16 in. by 13 in. ...
( 'on. Drinking, 10 in. by 22 in
Washing the Cradle, 30 in. by 24 in
Bonheur Maternal, 29 in. by 23 in.
Portrait of a Girl, 27 in. by 21 in.
Paysage dans l'Eure, 15 in. by 20 in.
Holds de Riviere, II in. by 10 ill.
I.a Seine a Nantes, 15 in. by 27 in.
Les Laveuses, 15 in. by 26 in
Harvest Moon, 24 in. by 43 in
I.a Loire pie, source, 57 in. by 65 in. ...
Solitude, 37 in. by 59 in
Le Moulin de la Paine, 2S in. by 21 in
I. a, 1 Days of Summer, 38 in. by 64 in. ...
The Mediterranean Coast, 32 in. by 25 in.
Bords de la Cance aux Loups, 24 in. by 32 in. ...
In the Forest, 30 in. by 38 in
Three Ladies in Oriental Costume, 16 in. by 13 in.
The Forest of Fontainebleau, 23 in. by 28 in. ...
Day-
Day
Cuthbertson
Garland ...
Day
Day
Cuthbertson
Day
Cuthbertson
Van Alphen
Day
Cuthbertson
Cuthbertson
Garland ...
Garland ...
Cuthbertson
Cuthbertson
Quilter ...
Day
Van Alphen
Cuthbertson
Day
Cuthbertson
Quilter ...
Day
Cuthbertson
Day
Cuthbertson
Milburn ...
Cuthbertson
Day
Cuthbertson
Cuthbertson
Cuthbertson
Guineas.
950
900
900
2,700
2,700
2,020
i,Soo
'■35°
1,050
950
900
2,700
1,000
2-55°
2,500
2,IOO
900
2,250
1,080
1,000
2,100
1,800
1.55°
1,250
1,150
1,020
900
1,800
1,650
1-55°
From the foregoing tables it will be seen that 108
pictures have this year reached four figures — 16 others
have fallen a little short of that limit— whilst last year the
number amounted to only 7-. There have been more
than the usual illustrations of good investments, ami also
of bad ones. In the former case, the most striking
collective example was provided by Sir John Day's
collection, which is understood to have cost him ^43,850,
and produced a total of Ai 4. 040. Comparatively few lots
..III I'u less Mi. 111 Sir John Day had paid for them, and
■ nearly all went for sums greatly in excess of the original
cost. In its way this sale is unique. It was formed, for
the most part, some thirty years ago, when the demand for
pictures of the Barbizon and modern Dutch Schools was
exceedingly limited, and when the artists were quitecontent
with small prices. Some of the more remarkable advances
have occurred in connection with pictures which have not
reached the minimum of ,£1,000, and which, therefore, do
not appear in the foregoing tables. We select a few of the
most striking advances, and tabulate them as follows : —
\ ii 01 \ 1 1 1 1 .
1 1 1 1 1 oi Picture.
Previous Prk e.
I. Constall
I. B. ''. Corot
I. I:. C. 1 ' <
II. 1 1 M 1 ii
I. 1 [oppnei
limit
M. Maris
J. F. Mill
)
G. Komi .
I
1. M. W. Turner ...
I. M. U !
I. M. \\
I. M. W. Turner ...
Mill and ( 'a, tie
Tin- \\ Icutters
flu I in
Fl>ing the Kiu-
Solitude
...
.
I 1 .11,0 . HI 1 atliedral
. Mills
Feeding Chicken, ...
1
B
■ en
1 '
rj
...
P rliament
IS35,
75 gn,. ...
£a'o
43SO
1S92,
900 gns. ...
I soo
1S04,
400 gns. ...
1SS7,
[,350 gns ...
1 1 80
/,I20
/.'>oo
[888,
/■So ...
.887, -.20 ...
1 3.400 ...
1840,
:
[899,
[884,
t88s,
!■!■ "11 .
[885,
1904,
1865,
Price in
1909.
Guineas.
8,400
1,450
2,800
1,670
i,35o
3,000
2,700
2,020
i.35o
5,000
7, Soo
;.ioo
4,800
2,000
6,500
4,000
1,700
12,500
, ,0
« ■
■/ -:i ,
TRAIT OF THE ARTIST'S WIF1
U.LAN RAMSAY
National Gallery oj Scotland
/// the Sale Room
It is much less pleasant to write of the " falls " than of
the advances, and so it must suffice to state that [ohn
Phillip, J. F. Lewis, John Linnell, sen., \V. Collins,
Erskine Xicol, E. W. Cooke, and Sir E. Landseer,
are among those artists whose pictures have shown a
more or less marked downward tendency, but this is
a fate which has, in two or three instances, overtaken
even Turner, D. G. Rossetti, and Sir John Millais. It
ius that the idols of one generation cannol ill
hipped in that which follows: and no hard and
fast rule can he laid down with regard to investments in
pictun .iii> more than with investments in stocks and
:hare The collector must be content witha fair margin
"I | M i 'lit mi hi - i olln linn .1 . ,l whole.
The BooK Sales of 1909
The auction season, which commenced early in the
October of last year and closed with the final days of July
in this, hereafter to be quoted as the season 1908-9,
owes its importance to the sale of the library of the late
Lord Amherst of Hackney, held partly in December and
partly in March, in the miscellaneous sales of December
17th, March iSth, and July 13th, the fine collection 01
manuscripts sold on May 6th, the portion of the library
of Lord Polwarth sold on February 15th, and the library
of Lord Dormer which, with other properties, was sold
on May 20th. The whole of these sales were held at
Sotheby's, and to them must be added the Beaufoy
Library, the sale ot which commenced on June 7th it
Christie's, and was continued for several days. The total
sum obtained for these eight libraries or collections
amounted to ,£76,722, considerably more than half of the
grand total of £ 1 29,654, representing the yield for the entire
season — the product of some 36,000 " lots " scattered over
fifty-eight sales of the better class, the figures disclosing
an average of ,£3 1 is. iod., as against £2 13s. id. in
1907-8, and ,£4 4s. 2d. in 1906-7. Such is the position of
affairs, and it may be said at once that it is not of a
wholly satisfactory character. Many high-class and very
expensive bonks changed hands, at the Amherst sale
especially, and an enormous mass of volumes was thrown
on the market from first to last, but in many other
respects the result of the season's book sales was dis-
appointing, at least to some. To begin with, Shakespeare
was almost a negligible quantity. A first folic, with
three leaves in facsimile and the portrait inlaid, realised
£800 at the Amherst sale, two copies of the Poems, ot
1640, ,£91 and ,£310 respectively, a volume of scarce
tracts containing Pericles, 1635, ,£415, and two volum is
of a similar character ^345. A fourth folio brought
£47, and another .£38, but they were not good copies.
Nor can A Midsummer Night's Dream, 1600, 4to, with
several leaves in facsimile be considered cheap tit ,£25.
Another and a much better copy sold for ,£65, though
this does not actually exhaust the Shakespeare list, for
a second folio, a bad copy, of course, realised ,£15, and
some other things of shreds and patches similai small
sums which it is hardly worth while to enumerate.
The manuscripts were much more important, though
they were almost all mediaeval service books. One ol
them, a Graduate Romanian of the thirteenth century,
for which Lord Amherst had paid ,£60 many j 1
realised ,£1,650 at his sale, while Wycliffe's original
version of the New Testament, written about the year
By J. H. Slater
1400, made ,£1,210 on the same occasion. The sale of
May 6th, previously referred to, realised ,{.8,056. although
there were but 67 entries in the catalogue. The highest
amount paid was .£790 for a French Horce B.V.M., ad
//sum Romanum, richly illuminated and said to be the
work of Geoffrey Tory. Rolle de Hampole's Ye Prike
of Consciens, with his Treatise written for a Hermit, the
work of an English scribe on vellum {circa 14051, sold foi
,{,124, and the D/tz Moraulx des i'////oso/die\\ the original
French version of the Dictes and Sayinges, written in
'473. ,£240. To these must be added the MS. of Burns's
poem, Ay Waukin " 0," dedicated "to Miss Craig with
the dutiful regards of Robert Burns," £1 10 ; a number ot
MS. essays and prefaces in the handwriting of Sir Walter
Scott, 123 leaves in all, ,£250 ; and his original corres-
pondence with C. Kirkpatrick Sharpe, consisting of 67
letters covering 116 pages, .£155. We can in a measure
imagine the appearance of such manuscripts as these,
and readily judge of their importance, but it is far other-
wise with illuminated service books, which are really
works of art depending for their interest and consequent
value upon a variety of circumstances which even photo-
graphic reproductions often fail to present satisfactorily.
To say, for instance, that a Missale i/d i/si/i// Roman/////,
22, leaves of vellum with musical notes, an illuminated
diptych and three small miniatures, realised £285, is
to convey no clear impression of its appearance, even
although the size (8£ in. by ji in.) is added to the
description, and we tire also told that it is commemora-
tive of the Cornish Saint Winwallow. ^Such a manu-
script must be seen before it can be appreciated, foi the
peculiar style, as well as the quality of the dei orations,
is of paramount importance, and the same remarks
apply to every illuminated service book which exists.
Many such manuscripts were sold during the season,
and all claim lengthy descriptions followed by actual
inspection before they can be, as it wen-, grasped and
made to live in the mind's eye. Such manuscripts must
therefore be passed over of neces it> in favour of printed
books, for these are in .1 measure reflected in other
1 opies.
Coming, then, to the printed bonks we no
of the tn t edition of Walton's Compleat
Angler, which on March 18th realised £1,085 .1 high
but unt .1 record price, foi the Van Antwerp copy sold
foi as much as ,£1,29 0. It is
;trange that a little bonk published at eigh
and at one time ( paratively common, should have
The Connoisseur
such a hold on book-lovers of to-day ; but so it is. The
Amherst sale was productive of the highest prices,
as may be readily conceived. One volume of the
Ma:, nine Bible, so called, though circumspect and very
precise bibliographers scout the title, sold for .£2,050,
and a block book, the Apoca/ypsis S. Johannis, printed
in Holland about the year 1455, /2,00c Other Amherst
treasures included five leaves (only) of the same block
book, ,£150; Aristotle's Ethica, the second book printed
ii 1 '.lord, 1479, small 4to, £150 (several leaves in
facsimile); St. Augustine's De Arte Predicandi, printed
by Johan Fust in 1466, small folio, ,£102 ; Balbus de
Janua's Catholicon, Johan Gutenberg (?), 1460, folio,
^530; Dame Juliana Berners's Booke oj St. Albans,
printed by Wynkyn de Worde in 1496, £600; Coverdale's
Bible, imperfect as usual, no complete copy being
known, £385; Matthew's Version oi the Bible, 1537.
folio, £150; The Great Bible of April, 1540, /405,
defective though it was ; and King Charles the First's
own copy of the Bible of 1638, bound in red velvet,
with the Royal Arms, as much as .£1,000. These are
large amounts, but the list is not nearly exhausted.
The editio princeps of Cicero's De Officiis, 1465, made
,£700, and the 1466 edition of the same work, .£290;
the first edition of Foxe's Acts and Monuments, 1562-3,
title and two leaves in facsimile, and another copy, very
imperfect, ,£120 the two ; the first edition of the Imitatio
Christi, printed by Gunther Zainer about 1471, ,£200 ; and
the first edition of the Opera of Laetantius, 1465, ,£350.
At the Amherst sale forty-seven books realised ,£100
each and over, and to a very great extent monopolised
the list of rarities.
At Mr. Cowan's sale on November 2nd last year, a
collection of 54 volumes, all original editions of Dickens's
sold for .£215 (morocco extra), and Dr. John
Newton has some good books, including a copy of the
fii 1 edition ol the Hypnerotomachia, 1499, in old French
u n, £1 59, and Paradise Lost, with Lowndes's second
title-page, [667, £115, and the same remark applies,
though with greater force, to Lord Polwarth's selection
sold on February 15th and following day, In this
ii e espei iallj notii eable, viz. :
■ ii/la/i/e, [651, sin. 410,
,£245; The Atlantit A'eptune, 2 vols., folio, 1780-I,
a work containing 120 large coloured charts of the
.11 Nova Si otia and tin gull rivers of the
St. Lawrence foi the usi ol tin Royal Navy, .£116;
printed by Caxton in 1490, £330 (7S
01 ly, hi mil be 8 1 ; / ■ of the
oj I ondon, 122 vol . \\a, ■ i< 14 (cf. and
hf. cf. ) ; .t ii> i the Mercurim Politicus, in 11 vols., 410,
1650-60, .£140. The most important work in this list
mi, though the amount paid foi
it is insignificant when compared with the cost of I 1
different works bound together, which realised £2,600
on May 2ist. Thesi b Ca ton, and
( ,il binding ni more than four hundred
years ago. A third Caxton, sold immediately after-
wards, is represented by the Royal Booke or Book for
a King, 1487-8, and for that ,£300 was obtained, although
sixteen leaves were in facsimile, and five had been
mended. Lord Dormer's library, or rather the portion
of it sold on May 20th, was remarkable for a series
of twenty-one volumes, all bound in red, olive, or citron
morocco by Clovis Eve, a craftsman whose work is not
often seen nowadays. These twenty-one vols, realised
^390, being sold together in one lot, though they were
catalogued separately. It is necessary also to mention
the Mozarabic Missal and Breviary, printed at the
private press of Cardinal Ximenes at Toledo, 2 vols.,
1500-2, which realised the large sum of .£1,250. It is
said that only twenty-five copies were produced for use
in the Mozarabic Chapel in Toledo Cathedral.
Books of the class named make such a brave appearance
that it might be supposed that the result of the season's
book sales was satisfactory in the highest degree, but as
previously stated, that is very far from being the case.
They have been purposely selected from among the
mass, for, naturally, every season has something out of
the ordinary to show. The list might indeed be very
considerably extended without in any way straining the
position it occupies, and if it were it would be seen that
these expensive volumes came almost wholly from the
eight libraries and collections of which we have spoken.
All the rest— fifty or more— were productive of very little
from the particular point of view from which the subject,
as a whole, is being regarded. It generally happens
that one special class of book dominates the sales of a
season, but this time no such feature is observable.
Works of a high class relating to the fine arts were con-
spicuously absent ; not many old plays, for which there is
such a great demand, are observable in the records.
Shakespeareana and Americana are both attenuated to a
degree ; while prices generally show a distinct decline,
when once we get away from early examples of typo-
graphy, early illustrated books, bindings by celebrated
craftsmen, and what we may perhaps be permitted to call
fashionable books, made valuable by reason of their
extreme scarcity. It is some solace to reflect, however,
that such works as these really appeal to the very few, and
that they do not enter into the paradise of the ordinary
bookman, however much they may be present in his
dreams. His way, at any rate, is clear, and during the
season which has passed he had the opportunity to
acquire, were he so minded, thousands of volumes which.
when everything is said, form the real backbone of
English and other literatures, for it is ,1 mistake in
i dition ol almost any work which
might be named is nece tril) the scara I < Mi the
contrary, tin very reverse is nearl) always the case, foi
the "111 maxim still holds good in this war of prices
the I" it books are tin- cheapest, made so by the law
0! supply and demand which never fails to keep the
ialanci n eq ■
It was Madame Hortense Montifiore who, within
a few days of her death, presented this remarkable
piece of lace to the Musee du
, Cinquantenaire in Brussels. Measur-
Kemarkable , , , .
Piece of Lace ln § r * y ards b >' l l >' alds > ll waS
probably made as a covering for a
bed of state or for a cloth on the occasion of the
marriage of Albert Archduke of Austria with Isabella
of Spain. Their arms and initials appear in the
design, as well as the clasped hands which are so
frequently seen in lace and i mbroideries specially
designed for wedding gifts. The Archduke governed
the Netherlands from 159S to 1621, so that in this
example we see one of the earliest bobbin-made pieces
of very elaborate pattern.
There are 120 squares, which picture with varying
elaboration stories from the Jewish records, from the
Xew Testament, from lives of the saints, and old
legendary history of the Netherlands. Amongst these
latter the four suns of Aymon perched on one horse.
The ( 'onnoisseur
LOWESTOFT MUG
; p :ar in the first and last rows.
Several times Adam and Eve, with the tree of life
b I ' n thi in. are shown, while still more elaborate
groups ol foui .mil five figures are depicted with
telling effect in the tin) squat Hoi :es richly
1 tparisoned, elephants, lions, monkeys, birds, the
pelican in her piety, and other emblematic or heraldic
animals are to be found.
II' bordi i is ol extraordinary beauty, and is no
I ' haracteristic vandyked edge of
tin- period is formed by means ol standing figures,
n point ol the scollop.
d kings with sceptre and regal robes are
worked ai each - orn r, and ;uperbl) dres i d figun s,
"'' different, make a i onl ou : proi ession
round the cover; smaller symbolic figures, such as
v ■ t crowned heart, lit trophy, stand
Mi i I . \. J \,
Lowestoft
Mug
i
and in
mug h<
■in ns ol I ow ion i inn.,,
i with int Testing surprises,
is direi tion th< bell hapi d
it is well kno
thai
on th lit Coa
i ,.i. , cora
i.l Bow.
opied, but instances ol
cil any kind are very rare, and are generally found in
underglaze blue on pieces having underglaze blue
decoration in conjunction with enamel colours. The
pattern ol the mug possibl} is not of Plymouth origin,
as similar shapes were made at other factories, but
that it was copied from a Plymouth mug is quite
evident, as it bears a copy of what is known as thi
"two four" mark in red overglaze, and the colouring
of the decoration is bright and pleasing, especially the
plumage of the birds, a feature noticeable in many
examples of Plymouth porcelain. The gilding round
the rim is well executed and ol good quality, and the
potting ol the mug all that could be desired. The
paste is soft, and the glaze, which is quite characteristic
of the Lowestoft factory, is. in places where it has
thickly settled, of a clear pale blue colour. The mug
i a > i\ interesting specimen and well worthy of the
best traditions of a factory the productions of which,
at one time, were the cause of so much dispute.
It is in the collection of Mr. W. C. Woollard.
On the opposite page is a full-sized illustration
(taken from the advertisement of the lottery) of one of
a pair of fine diamond earrings included
in a lottery by a well-known London
jeweller, James Cox, of Spring Gardens
—a lottery which had Keen sanctioned by Act of
Parliament to take place in 1773. They had been
intended, as the following note from the inventory
will explain, for Catherine II. of Russia, together
with her bust by the sculptor Nollekens.
Diamond
Ea
rinii marl
I 01 1 ' .\A I 1 -1 1
Notes
"These Earrings are to ai company
a bust of Her Imperial Majesty the
Empress of Russia, and were intended
to have been sent to St. Petersburg.
They are by far the most capital pan
now on sale in Europe, weighing
44 carats and r a 6 ths and set trans-
parent. The drops alone were several
years in matching, which they do
with the utmost exactness. They are
of the first water, finest form, ex-
cellent proportion and most beautiful
lustre, and with the bust of the
Empress constitute one of the prizes
in the Lottery for the disposal of the
museum in Spring ( hardens.
"N.B. — There are in the Lottery
• DIAMON
two tickets of every number, for
instance, No. iA, No. iB, and so on to 60,000, thus
by duplicate numbers there will be duplicate prizes ;
every number therefore which is a prize in class A
will, of course, be a prize in class B, and Mr. Cox
particularly stipulates for the two numbers entitled
to the earrings and their fellow prize, that if the
possessor or possessors of one or both shall be
inclined to dispose of them, they for each shall
receive five thousand pounds, or ten thousand pounds
for the two, from Mr. Cox or his representative."
The earrings and the bust are glowingly described
in the advertisement thus: — "A bust of her Imperial
Majesty the Empress of Russia, with brilliant orna-
ments, constituting one prize, for which the fortunate
adventurer, if inclined to sell, may receive five
thousand pounds from Mr. Cox or his representatives.
This bust of her Imperial Majesty Catherine I
present Empress of all
the Russians, was
modell'd for Mr. Cox by
that celebrated English
artist Mr. Nollekins,
from an original portrait
in the possession of his
Excellency Mon. Mou-
schkin Pouschkin, the
Imperial Russian Am-
bassador at this court,
and is esteem'd a strik-
ing likeness of that great
princess. The brilliant
ornaments that accom-
pany the bust are a pair
of the richest earrings
that have f o r man y
years been seen in this
kingdom, and are by far the most
capital now on sale in Europe; they
weigh 1 1 1 aral ^th . and
transparently ; the drops alone were
1 years mati hin
time when the diamond
poured in upon us more abundantly
than they ever did, or probi b
will again. They are as incomparably
fellowed as il cut from one divided
thi j are of the first and purest
christaline wati r,
the nicest proportion and the most
I" autiful lustre : and when an
tagi mis 01 casion offers for the sale
ol such a pair, will entitle the
iRRING possessor (it disposed to part with
them) to a price far exceeding the
present estimation of them, tho' they are now
estimated at ^5,000.''
No explanation is given why they were not sent to
Catherine II. Nollekens appears to have executed
the bust of the Empress by her direct command, a
well as no fewer than twelve marble busts ol the
English statesman, Charles James Fox, to givi awa)
as presents. Such was her admiration of his great
abilities that the bust sent to St. Petersbui
placed between the busts of Cicero and Demosthenes.
We havi failed to find any reference to the bust of
the Empress, done by Nollekens to thi order ol
James Fox, in the well known work, Nollekens and
his Times, by J. T. Smith. E. Alfred I
on .,,1 English Delfi
in, and in date aboul
7S4, IS the \ , ,,: Ol
alloon^ Then ire two
figures in
ih. cai
in quaint
eighteenth century cos-
liiuie, and the I'nion
Jack is shown as living
from 1 li c i';i r. In
printed ware ol
the same date, ii is fre-
quently noticeable that
1 has chosen
his medium to 1
curi nt events likel)
A. Ball
Plate
The Connoisseur
SS. Gic
e Paolo, Venice
mutters, such as the Iron Bridge over the Wear on the
Newcastle and Sunderland mugs and jugs, and great
naval and military victories, as in the series of Nelson
jugs and in the Worcester King of Prussia mugs ; but
in Delft ware he usually confined himself
to decorative subjects, largel) dependent ^
on Chinese motifs, so that a plate such ._';•->
as we illustrate isexi eptionally interesting
on account of its attempt to compete
with the transfer printer.— A. H.
Iiu great Gothic church of SS. Gio-
vanni e Paolo contains in its great lectern
a very beautiful and per-
The Eagle of fectly un j que example
of chinch furniture. The
church was nearly, if
nut quite, completed b) the < lose of the
fourteenth century, when the tombs of
the Doges Mil hele Morosini ami Vernier
wen- si i u)), ami this lei tern may perhaps
belong to that date. It has been assumed,
perhaps too hastily, that on account of
the ile-,k being supported by a double-
headed eagle, the cognizance of tin- ( lerman emperors,
the lectern is of German manufacture. It is true the
details of the pedestal might very well accord with
this theory, and there is an utter absence of any
Renaissance feeling in the work such as might have
been expected in a purely Italian design of tint period ;
but the Venetians were nut sufficiently in love with
German emperors thus to exalt their emblem in one
of their great churches, even it a presentiment of what
was in store for them in future ages had nut prevented
such an accident. The idea
ol the two-headed Venetian
: . derived from the
same source .1 i I hal "I ill
1 ri 1 man one it was in
typify their lord-
hip o\ r the empires of the
w • ;t, foi aft 1 ili
1 mm /.mi inopl
is, with the a is
he \ enetians, the
Do timed i monj hi
other titles, " I .mil of a
quart i anil half a quarter
of th- Rum, in Empire."
11 which this lec-
tern was probabl
synchronized with
towards th I I i
ildi:
miMikliivjs ,
A French
Reliquary
m :
1386, only six years after its successful emergence
from its death struggle with ( >enoa, Corfu was annexed
to Venice. The eagle is well modelled, and all the
id decorative details are delicately worked;
und as the whole desk stands 7 feet in
height it forms a remarkable feature in
the church. — J. TavENOR-PekRY.
It is difficult to appreciate the causes
at work which have made it possible for
so much beautiful wood-
work from the churches
of the north of France,
possessing little or no intrinsic value, to
have drilted into collections and museums
outside that country. The Victoria and
Albert Museum obtained, by purchase,
a large quantity of such woodwork in
t,S()4, which had been gathered together
by the late iM. Peyre. It is unfortunate,
however, and detracts much from the
value of such a collection, although per-
haps consequent on the manner in which
such works are often obtained, that there
is no record of the building or place from whence
the object was removed, or indeed any facts in refer-
ence to it which would so much add to its historical
interest. This is particularly to be deplored in the
1 ase of the small chasse or reliquary which we illus-
trate, which is not only an exceedingly good specimen
of the simpler wood and metal work of the period
to which it belongs, but, judging from the remains
of the paintings with which it was decorated, at
one time contained important relics. It is of oak
with iron doors at each
end and simple iron crest-
ing, ami is in a rather
knocked-about condition.
Each side of the top has
the remains of a painting,
the one showing in our
illustration being assumed
to represent a visit of
St. Anthony the Abbot
to St. Paul the Hermit
in the desert, who is being
led by a raven. Its
dimensions are almost
diminutive, being only
1 j in. by I)' in. and 1 7 in.
high ; it is assigned to the
1 ml oi the fifteenth cen-
tury, and was pun h ISed foi
i IT. P.
Notes
THE painting by Goya reproduced measures 6 ft. 5 in.
by 3 ft. 9 in. It is a life-size whole figure of the duchess,
who is attired in a pale-rose robe of silk,
at the bottom a garland of roses. She is
seated
A Goya
Portrait
sofa
if blue silk
with gilt wool frame ;
on h e r shoulders a
white silk shawl. Her
hair is of a dark brown
colour. She holds in
her lap her little
daughter, about one
year old. The baby
is entirely in white
silk, and has seized
some of the flowers
which her mother
holds in her right
hand. The baby's
hair is of a light
blonde. The por-
traits are beautifully
expressive, and the
colours are very har-
moniously distributed
all over this remark-
able masterpiece.
The picture has been
in the possession of
Marquis de Corvera,
in Madrid, from whom
it passed into the
collection of Count de
Pastre, in Paris; now
it is owned by Mr. F.
Kleinberger, in Paris.
On the bottom ot
the picture is the full
name of the duchess
and of her daughter,
as seen in the repro-
duction, and the date
of birth of the baby.
From the latter it
can be concluded that
Goya painted this
beautiful picture in
1788.
It is described in
Valerian von Loga's
Lafond.
Rarely within our knowledge has a collection of
such surpassing interest appeared in London as that ot
, r „ . the ancient Chimu pottery recently
A Collect.on of excayated b Mr T Hewiu M ; ng
Lhimu Pottery , , , , ,
in Peru. The vessels are probabl)
the most antique in existence — 5000 B.C. being generally
accepted as their date. Some are beautiful and some
grotesque, but the whole collection of modelled and
painted figures, animals, birds, deities, and ini idi nl
give the observer more than a mere idea of the habits
toms of an interesting prehistoric race. The
modelling is wondei
fill, the (hawing is firm
and unhesitating, the
colours harmonious.
The collection num-
bers between ;■ •• < and
ind bowl ;.
Some of the latter
have false bottoms,
and contain in the
hollow space silver
and copper money.
WhiUt all the metals,
excepting gold, which
01 caMonalh decorated
the vessels, have
entirel) 1 orroded, the
earthenware with its
thick glazing is fresh
and uni hanged. The
1 olli 1 tion is more than
wonderful, and must
be seen to be appre-
ciated. Sir Clements
Markham is right
when he says, in his
recent letter to the
Standard, that the
I Bl itish Museum is its
]
" The Romance
of Fra Filippo
Lippi," by
A. J. Anderson
(Stanley, Paul &
Co., tos.6d.net)
I n this "new ver
I of the lot e 1 1
I the friar-artist and the
I nun Lucre
I enthusiastic admirerof
mk ;;t"""" 1k
e and yet intensely
REZ DE TOLEDO AND HER human alt ol Fra
.a Filippo Lippi applies
to the gayfriai that process of whitewashing which is
the unavoidable fate of all great persons in history
whose weaknesses of character have left a stain upon
theii traditional image.
itely Mr. Anderson, in endeavouring to pre-
sent history in the form of romance, or to
romance from historical tacts, falls thl
stools ami gives us neither facl nor fiction. His whole
,11 what detinue knowledge we have
of the life of Fra Fi
ia Buti. I
The Connoisseur
facts he tries to trace his hero's
psychology and the motives for
his actions. He also tries to
create a background of fifteenth
century Italian colour. But to
accomplish the difficult task
of making the dead past live
before our eyes, he lacks the
marvellous knowledge and
power displayed by the Russian
Merejkowski, who has treated
the life of Lionardo da Vinci
from a similar point of view in
In, Forerunne) : or, more re-
cently, of Mr. Fred Manning,
who in his Scenes and Portraits
mind ba< k upon
past civilisations with analmost
visionary powei of realisation.
Mr. Anderson remains hope-
lessly twentieth-century. His
t.ilks cm art are of the kind that
may he heard at any moment
in the studios of Chelsea and
Si. [ohn's Win ill ; noi i in we
i thetii indgment of
a critic who see- m Mr. Walter
Crane and Mr. Arthur Rack-
ham the lineal descendants of
i- ilippo i.ippi :
.„|i
lace gi
"Lacis" '
ByCari,a Filet Brode 1
(S. Low, " Ul l, "" i '
Marston & Co. '"' ,l " n,n - "■'
.os.6d.net) m ' L "icgi-eat
tren th and
durability ol I. u is.and the fact
tli ii repi ated washings in no
way diminish its beauty, must
ctors in ii i popu
larity, which remains undimin-
• ■ the Middle \ ■-
In ' 1 I, ".« toute Dames et
I . brought to-
facts which throw ., light on the
antiquity ol netting. In Chaldoca, whi re th« re wa \ an
ol !■ ypt,m i pa
on Babylonian and
1
I i 11 I .,
1 known
ulptured robes,
the netted In .;
b
I I I'M ll
was considered as a symbol that
guarded the soul. According
to Professor Petrie,the net pat-
tern is found in Egypt during
the I2th dynasty, which corres-
ponds to 130 B.C., and it became
more general in the iSth
dynasty. Altogether Lacis is a
hook which will interest those
women who wish to master
the technicalities of one of the
oldest forms of lace-making,
and who also take a delight in
the history ol a handicraft.
^
Ik.
Frei
ERIC
K .
ARTHUR
Cr
SP,
w h
has
pr
,di
ced
Me
norial R
ngs
se\
te
bo
era
oks
111-
(F.
£2
A.
2S.
Crisp
net)
, es-
pecially on
armorial china, may be sup-
posed to know just what his
public needs. Otherwise one
must own that his latest book,
Memorial Rings, Charles II.
to William I V . (privately
printed), 1 50 1 opus onlj . ap-
pears almost as a work of
supererogation. Perhaps,how]
ever, there remain 1 ;o persons
interested in this lugubrious
subject. 1 ) eath a ml bank-
ruptcy are things which, alas!
often befall one's friends ; but
society does not consider them
very good form, and a ring
which would commemorate
either e\ents woul il not 1>
much liked nowadays. Her
Majesty the late Queen m.i\ be
said to have been the last great
exponent of the mortuary cult.
"lacis" !>\ i\i-rr\ But of recent years more philo-
soph) is shown. The ring .is
a reminder of death, which may be said to have begun
herewith Richard 11.'- bequests, and was most popular
aftei the death ol Charles I., has passed away.
Mi^t people remember that among the Ii faci 0]
indmothei were dozens ol quite in< upensive and
unattractive memorial ring which had come down from
the eighteenth century. Ii is with such purelj
inn es thai Mi ' 1 p deal very largely, for In - 1 ol-
il important or earl) specimens does not appear
extensive. It is tun- thai his elaborate 1 atalo ;ui
-"in.- ie . sample ;, ami that he
on iome well-known rings,
.11 .,1 In I',, icess Mm :lia, 01 the si holar Hody,
or Simon Frazer, 01 Lord Lovat. But notwithstand-
linstal n labour, which reproduc es all
Notes
the inscriptions on the rings verbatim, and the
notes, which include abstracts from registers of burial,
monumental descriptions, abstracts ot" wills and bio-
graphical memoirs and so forth, it does not seem
probable that collectors of to-day who are -aided by
cheery and aesthetic reasons will become attached to the
branch of connoisseurship to which this bulky and hand-
some volume is devoted.
M.Arnold GO) i in has steeped himself in Franciscan
lore. He has not only studied the Fioretti oi the
Poverello, the Speculum perfectionis,
"St. Francis an( j a i| t | le literature bearing upon
in Italian the 5U bject, he has not only made
Legend and himself personally acquainted with
. r ' . . ^ rr tne vast succession of frescoes and
Arnold Goffin . . ,
,_ _ . altar-pieces from pre-diottesque days
(G. van Oest and , , ,. . , .- , ,
„ „ . . to the declining davs ot the Ren.us-
Co., Brussels) , , - , ,
sance that have been inspired by the
veneration of that most humble and lovable of all saints,
but he has followed St. Francis's footsteps from his
parental home in Assisi to Perugia, where he was kept a
prisoner of war, to Foligno, where he sold his father's
horse to aid the poor priest of St. Damian, to the rugged
heights of the Apennine, to La Verna where he received
the Stigmata ; and he has painted a fitting background
for the picturesque figure who, together with Dante,
exercised the most powerful influence upon mediaeval
thought.
St. Francis has done far more for art than merely
supply generations of painters with fascinating subjects
for the exercise of their skill. It is not too much to say —
and M. Goffin lays great stress upon this point— that
his teaching, his regeneration of the Christian ideal, his
substitution of action for the word or formula, his intense
human emotionalism, created a new art : he turned the
painter's mind towards Nature. It Cimabue and Giotto
broke away from Byzantine hierarchic stiffness and laid
the foundations for modern art, this must to a great
extent be ascribed to the influence exercised upon their
mind by the teaching of i lie Poverello.
An important catalogue is in preparation by Mr.
Rudolph Lepke, Berlin, of the print collection of
the Freiherr Adalbert von Latin, of
Prague, which was sold this season
in Stuttgart. The catalogue will have
a preface by the Director of the Berlin Kunstgewerbe
Museum, Prof. Dr. von Falke, and will contain about
eight hundred reproductions in phototype.
The portrait of Mrs. Allan Ramsay, by Allan
Ramsay, in the National Gallery, Edinburgh, is
generally ai < epti d .is the inn si ol the
many able portraits painted by the
artist. Though Ramsa) never reached the highest
rank in bis profession, the most casual examination
of his work will show that he possessed no slighl
knowledge of brushwork and draughtsmanship. As
Important
Art Catalogue
Our Plates
i ordin n\ to < leorge 111. he painted many
Royal portraits, those of the King and Queen
Charlotte in the National Gallerj being amongst the
iwn. The son ol Allan Rams tj , the aul hoi > il
The Gentle Shepherd, he inherited a taste for writing,
and was also an accomplished linguist and con-
versationalist. 01 him Dr. Johnson said : " You will
noi find a man in whosi conversation there is more
instruction, more information, or more elegance than
ty's."
The portrait of John Charles. Viscount Althorp, by
Sir Joshua Reynolds, is amongst the most plea
of the many line portraits l>\ Reynolds in the
possession of Earl Spencer, amongsl which are
included such well-known canvases as Georgiana
Duchess of Devonshire, Lady Camden, l.avinia
Countess Spencer, and the Hon. Miss Anne Bingham.
A painter new to the pages of THE C0NN0ISSE1 R
Magazine is J. F. A. Tischbein, whose portrait of
Princess Frederic ka Sophie ll'ilhe/mina in the Rijks
Museum at Amsterdam we reproduce in this number.
I'lns.' aie no fewer than six painters of this nam.'
recorded, all of whom are related, and almost all of
whom owed much ol their ability to J. H. Tischbein,
the uncle of the painter of the portrait reproduced.
There are numerous examples of the work of the
Tischbein family on the Continent, notably at
\m i rdam, Berlin, Brunswick, Frankfort, and Leipsic.
Our special presentation plate, Marie Antoinette,
alter the painting by Madame \ igce Le Brun at
Versailles, is generallj considered the finest portrait of
the unfortunate French queen, who, "radiant and
blind beneath the symbolic Hood of ostrich plumes,
awaits destiny."
The plate on the cover of the present numb i is a
portrait of Jane Countess of Westmoreland, daughter
oi K. Saunders, Esq., and niece and co-heiress ol
Admiral Sir Charles Saunders, R.C.B.', who married,
.is In-, second wife, John, tenth Earl ol Westmoreland,
in i.Soo. The original is in the possession ol th
Rt. Hon. Sir Spencer Ponsonby Fane, p.C.
Boohs Received
Book Prices Current, Pari III.. [909, 2s. net ; B
Fonts in /•■•■■. :'■■:. bj Cecil II. Eden. 1 Una Stock.)
Chart q] Pa • ■ II & D iwdi m II, Ltd.)
The Masterpi . oj Gainsborough, 6d. nel
. 6d. net ; The Masttrpie
6 I. net. (I lowan S '
Rubens, by Edward Dillon, 25s. net. (Methiien & Co.)
. Pari \\\. b) P. G. Konody, M. \V.
I, md I . W. Lippmann, is. net. (T C. and
I I
, Vol. III., bj
IV r. Dr. I In.!, fm. me and Prol Dr. Fel B
(Wilhelm Engelmann.)
ORRESPONDENC
ByAM SWAW /90
v-;>
Special Notice
Enquiries should be made upon the coupon
which will be found in the advertisement pages. While,
owing to our enormous correspondence and the fact
that every number of The Connoisseur Magazine
is printed a month in advance, it is impossible for us
to guarantee in every case a prompt reply in these
columns, an immediate reply will be sent by post to
all readers who desire it, upon payment of a nominal
fee. Expert opinions and valuations can be supplied
when objects are sent to our offices for inspection,
and, where necessary, arrangements can be made for
an expert to examine single objects and collections
in the country, and give advice, the fee in all cases
to be arranged beforehand. Objects sent to us may
he insured whilst they are in our possession, at a
moderate cost. All communications and goods should
be addressed to the " Manager of Enquiry Dept,
Tin Connoisseur Magazine, 95, Temple Chambers,
Tempi Avenue, E.C."
ANSWERS TO CORRESPONDENTS
'Books. The Times, 1805.— At, 168 (Middleton).—
new pa] - 1 are noi very valuable.
w I,,.',, reprinlso lition.
IS
Cosmographle," 1660. Ai,i52(Ashton un
1 this 1 '■ isnot 1
" Waverley Novels," icS2i, 25 vols., calf.— Ai, 105
: alue of this edition ■ ■; ■ ■ 1 \
more than £ I. Your two volume ol 'he Genii,
vorth only .1 1 • a twenty-
m £2 to ,£4 or £5, a 1 idil
"Oliver Twist," by Charles Dickens, 1st edit.,
1838, 3 vols. At, it 1.1" 1I1 limn 1 dition of
It trie cancelled " Fireside " plate, may be
. to, according to tin- condition ami
EngraVingS. — " The lock" and "Hie Corn
field," by I). Lucas, after Constable. \i • iS (Bristol).
1,1 hey are
worth upwards of £$0 the pair.
Mid-Victorian Engravings. - A 1,297 (Bradford).—
Prints of this class are of little value.
"Helena, second Wife of Rubens," by O. Maile,
after Rubens. -Ai,3l6 (Lichfield).— Your engraving is worth
from 30s. to £2.
" London Cries," by W. C. Lee.— At, 329 (Delgany).—
Your set ol London 1 'ries is ol little value.
"Master Lambton," by Cousins.— Ai, 333 (Exeter).
—There are many "states" of this print differing widely in
value. The last and most common has the title "Boyhood's
Reverie"; and if this is the one you possess, it is worth about
£2 or £}. Some early states realise high prices.
Rembrandt, by C. Turner.— Ai, 232 (Inverness, N.B.).
—The value of this mezzotint portrait is about £$.
"The Horse Feeder," by J. R. Smith, after Q.
Morland. A1.23S (Slough). — Your print should fetch £10
to £i$, according to condition.
Furniture.— Window Seat.— Ai. 349 (Castle Pull-
ingham). — From the rough sketch you enclose it is difficult
to give a propel opinion regarding your old window seat, but
11 is evidently an early nineteenth century piece. Its value is
probably not more than 3 or 4 guiro is.
Mahogany and Oak Chest of Drawers.— Ai, 350
(Ambleside).— Unless the object you describe has any special
history, we do not think it would letch very much. To value
il definitely, we must have a photograph and further particulars.
Carved Oak Sideboard.- A 1. 31 3 (Weston-super-Mare).
— It is practically impossible to judge 1 arvi d oak from a photo-
["he piece has a foreign appearance, and, as near a-.
iventeenth century Flemish origin. Its
lie \ due we do no judge to be more than £2$ to £30 ; but
this opinion needs confirmation by inspection of the piece.
1 ighteenth Century Chairs. \1.2so (Stoke Newing-
ton.N 1. 1 In- four chairs of which you send photograph are
e iX:h century. We presume they are of
acks are original, the utmost
Old English Chair.— Ai, 314 (St. Osythl.— We presume
youi than is tit walnut 01 mahogany. It is apparently oi
■ century I nglish workmanship, and its value is aboul
Lace.— Crochet Flounce.— Ai, 1 14 (Kidderminster|
the oil itograph 1, youi flounce
crochet, and to be worth £6 tos. or so.
wk
BARI1AK \. CO! NTESS OF CASTLEMA1NE
VFTER V OF CLEVELAND
■ : i I '.
/„ the /■• of Hurl Spencer, K.G.
N'OVIMl.HK, I9O9.
r^J^fH
«L
6F-
-fflF fewn/
Part I.
Written and Illustrated by Leonard Willoughby
That Portsmouth owes its present importance
as a town to its geographical position is very obvious.
The rise of most of our cities and towns to any sort
of importance has, in fact, been due to the con-
formation of the ground and the nature of either
its seaboard or river-side. Of the many bays which
abound on the south coast of England, such as
Plymouth, Weymouth, Swanage, Poole, Christchurch,
Portsmouth, Langstone, Chichester, Pagham, and
Dover, there are only two which meet the necessary
requisites of a great naval port. These are Ports-
mouth and Plymouth. Portsmouth undo
meets all requirements, and is also central for the
command of the Channel.
Curiously enough, however, neither of these places
was recognised to be of the importance they
now are until the eighteenth century, and althou'gh
Portsmouth had from earliest days been a I .■. .
CHARLES I. AND HENRIETTA Mj>
Vol. XXV.— No. 99.— i
The Connoisseur
place for embarkation and the gathering of ships,
still the real naval stations, such as they were, were
the principal ports of trade — London and Bristol.
Nevertheless, from very early days Portsmouth had
to bear the brunt of invasion and battle, and it
was from here that Alfred sent out his fleet to
engage the Danes. William I. was opposed by the
fleet which Harold collected at Portsmouth— the
mvenient place for gathering together a large
assembly of ships. In still earlier days the Romans
surrounding country which 1'orth held in vassal-
age of Cerdic. In S38 -Ethelelm, governor of
Dorsetshire, routed a band of Danes which had
disembarked at Portsmouth from a fleet of thirty
sail. In 1086 William I. raised a fleet here, and
embarked for Normandy : while in iroi Robert,
Duke of Normandy, claiming the Crown of England,
landed in Portsmouth without opposition. In 1139
the Empress Matilda, with the Earl of Gloucester
and only one hundred and forty men, landed at
5TLE, ON rilK
had a camp at the head of the harbour, which was
cue ..I the strongest of the surviving forts. This
iva Portchestei Castle on the main road connecting
Portus Magnus as Pot then known —
and Winchester. As to whether Portchestei was evei
a really convenient place ol settlement is open to
doubt, as it was shut in by hill and forest. In course
of time it grew less convenient as a landing-place
It is therefore probable thai the inhabitants moved
the mouth ol the harbour, and that this
was the 1 it h as a settle-
ment and lib tequenl town.
In 501 a bo.lv ol Saxons landed here from two
■ ;lleys under the command ol I'oiih and his
1, and defeated the B
killed tli-:' commander, and took possession oi the
Portsmouth without opposition. Henry II., previous
to his departure to act as umpire between Philip of
France and Philip, Earl of Flanders, made his will at
Portsmouth, near the sea-side. One copy he put into
his own treasury, one in the Church of Canterbury,
and a third in the treasury of Winchester. Richard 1.
embarked at Portsmouth for Barfleur with one hundred
large ships in 1194. It was this monarch who
granted the Corporation ol Portsmouth a chatter,
dated May 2, int.}, three months after his return
iptivity. It is thought that this chatter was
granted in return foi a substantial contribution to the
Royal Treasury. The charter granted leave to hold
a fair or mart for fifteen days, a weekly market on
Thursdays, and immunities. This was the chartei
toi ■■ I lee Marl Ian." which continued until 1S46.
The Town of Portsmouth
The immunities alluded
to were that during the
fair the town was " to
be Free to all people,
natives and foreigners,
free from tolls, duties,
impositions, and no one
to be arrested for debt,
or oppressed in any way
during its continuance."
This fair was directed to
be held on the festival
of St. Peter de Yincula,
viz., the ist of August
in the Roman Catholic
calendar. The fair,
which was originally of
great service as a market
and for commercial
rendezvous, gradually,
as the population in-
creased, degenerated
into such scenes of
drunkenness and vul-
garity that an Act of
Parliament was passed
to discontinue it. In
1 200 King John granted
to the borough a charter, embodying the same
privileges enjoyed under Richard's charter.
Henry III., in 1221, assembled at Portsmouth one
oi the finest armies ever raised, and in 1230 he
embarked for St. Malo. This same year he confirmed
the preceding charters of Richard and John, and in
1242, together with his C'ueen, Prince Richard, three
hundred knights with thirty hogsheads of silver, sailed
from Spithead for'Gascony. Fourteen years later he
granted to "our
honoured men of
Portsmouth " a
"Guild of Mer-
chants " and other
privileges, which
shows that the town
was so far advan-
cing in importance
as to claim equal
privileges with such
places as York,
Hereford, and
Lincoln, which had
already their Mer-
chants' Guild.
These guilds were
k
] itr -sSU-oet, C«)mciou6 1 ovncamx/r, ^ or
fi
%
h'
'^LQLa^, ,
1
1
■ p& .
W OrUlUOulty '
si .
" j
endowed with consider-
able powers for the regu-
lation of trade, so that
there is no doubt that
there must have been by
then a fair amount of
trade existing in Ports-
mouth. In 1336 the town
was burnt by the French.
In [346 Edward III.
assembled a fleet here
of 1,600 ships, and set
sail from St. Helens,
and in 1372 he 1 irdered
all maritime towns in the
kingdom to fit out vessels
and to assemble them
before the ist of May at
Portsmouth. Five years
after, the French again
attacked Portsmouth
and burnt it, but they
were driven back to their
ships by the inhabitants
with great slaughter.
In 1386 the Duke of
Lancaster assembled an
army of 28,000 men for
Spain, and took with him his wife, Constantina of
Castile, and two daughters. Richard II. and his Queen
accompanied them to Portsmouth and presented
them with two golden crowns. The English fleet was
blockaded by the French in 14 16 at Portsmouth.
In 14 1 7 Henry V. embarked for Normandy, while in
1445 Margaret of Anjou landed here and proceeded
to the Priory of Southwick, where she was married
to Henry VI. In 1 549 Adam de Moleyns, Bishop
Chichester,
1 he King's
I > 1 i v y seal, was
1 lut of the
" I >omus I >ei " and
cruelly mi'
Edward IV. re-
, .000 men
on South
mon in 1 175, and
granted in 1 I'm .1
charier wl
II r ill si:
II .. Ed .
andotb
K g 5 5
K a
-j : _ z «
a h :'r 8 £
s
"Hflfr ' '■■ i #^8K i^. 1
The Town of Portsmouth
SEAL ATTACHED TO ELIZABETHS CHARTER )n
OBVERSE
Elizabeth granted the Corpora-
tion the power of electing jus-
tices of the peace, and gave the
title of " mayor and burgesses."
Charles I. granted a charter in
1629, which was important, as
it gave the borough privileges
and immunities which it did not
possess before. Charles II. 's
charter of 16S3 became void
owing to the borough following
the example of many others in
the kingdom, which surrendered
the charter of Charles I., and
accepted another from Charles
II., under which they acted till
the abdication of James II. in
168S. It was then discovered
that the charter of Charles I.
was in the hands of a Mr.
(liogne, and on application was
by him duly surrendered, by
which means the charter of Charles II. became void.
The recovery of Charles I.'s charter was highly
favourable to the freedom of this borough, since by
that of his successor the mayor, aldermen, recorder,
justices, burgesses, and town clerk were rem
from time to time at the will of the Crown.
Richard
III., in 1485,
Con
the subse-
also confirm-
quent items
ed preceding
charters, and
hi importance
in connection
Henry VII.
with the his-
granted one
tory of Ports-
in 1 4S9.
mouth, 1 may
Henry VIII.
also granted
mention that
Southsea
a charter in
Castle was
1511, as did
Edward VI.
built in 1539.
In 1552
in 1551. In
Edward VI.
1600 Queen
visited Ports-
mouth, and in 1591 Q
Elizabeth came here. Charles 1.,
as Prince of Wales, landed here
on his return from France and
Spain in 1023. The Duke of
Buckingham sailed from
head with 100 ships and 7,000
land forces in 1627 to
Rochelle. In 1628 the Duke
was assassinated in Poi I
on. I n 1 '• 1 2 Ports-
mouth «
In 1660
Princess Henrietta, fall 1
of the measles while under sail
in the " London," which was
nearly lost upon the I
shoal, put into Portsmouth
harbour.
Charles II. married Catherine
of Braganza on May 22nd.
1662, and in 1664 he came to
Portsmouth to view Prince Rupert's squadron. The
Uuke of Berwick was mail [687, and in
16SS Judge Jeffrej ol England,
was elected Recorder. In [689 William 111. dined
on board the " Elizabeth," and gave the seamen 10s.
for their servio ; in Bantry Bay. ' oming to
R'S Oil ICERS
ARS
NDER- o:
The Connoisseur
JOLD BADGE
later times, in 1803 Lord
Nelson hoisted his flag on
board the "Victory," and
in 1805 embarked from
Portsmouth for the last
time. The same year
— barely three months later
— the " Victory " arrived at
with the mortal
remains of this most gallant
sailor on board. Kings,
queens, emperors, ruling
princes, presidents, and
governors have continually
visited this great maritime
town, and he who would
know more of its interest-
ing history, told in most
readable form, should study
The Annals of Portsmouth,
written by Mr. W. 11 .
Saunders, Portsmouth's
antiquarian and curator of
its museum. This work,
together with Mr. William
' rati History of Ports-
mouth, gives in detail the
many historical matters w
Portsmouth and Southsea.
The property of the C01
day, such as the insignia, charters, seals, and plate,
is of a niosi intere ting di ;cription, and is safely
lodged in the princely Town Hall, of which there
is no linn specimen in the kingdom. Other objects
ol very great historic value are kept in the museum
in High Streel a building which was once the old
guildhall. The contents
of this highly-iii'
m, which include
dl 1 wings,
a copy
:i Independ-
! lizabethan
London
of all th
;h are connected with
ihich exists to-
Mr. Saunders's indefatig-
able labours — are more
than sufficient to induce
the authorities of Ports-
mouth to greatly extend the
museum.
My only regret is that in
a short article I am quite
unable to give a detailed
description of some of the
most interesting subjects in
the museum. The object
of the curator has, however,
been, with the means at his
disposal, to show as much
as possible of the historic
matter relating to the old
town of Portsmouth. A
large portion of the exhibits
belongs to the curator, who
has made a life-long study
of antiquarian matters.
Certainly a delightful and
instructive hour may be
spent line.
The insignia, documents,
BY THE MAYOR , , , \ , . .,
and plate belonging to the
Corporation are of singular interest, the plate itself
being the second most valuable collection of Cor-
poration plate in the kingdom. It is claimed
that Portsmouth has the distinction of being one
of the towns to which the largest number of
charters has been granted, these ranging from that of
Richard I. in 1194 down to 1835, when the municipal
Reform Bill was passed. In 1600 Queen Elizabeth
granted the first charter of definite incorporation
to Portsmouth. The
privileges then granted
were that the tow n
should be governed by
a mayor and burgesses,
who might hold lands
and have a common
seal. According to the
records in the Corpora-
tion muniments, the
first mayor of Ports-
mouth was elected in
1 5 3 1 , and was one
Thomas Carpenter,
who, according to
Leland, built the first
Town Hall. This stood
in the middle ol 11 mh
The Town of Portsmouth
Street, and was built at his own ex-
pense. The seal attached to Elizabeth's
charter is an exceedingly fine one, and
in good preservation. The earliest
common seal was pointed oval in shape,
3 in. in length. This wasthirteenth cen-
tury, and showed a single-masted ves-
sel on the waves, with furled mainsail
with the moon and star above. Only
an imperfect and undated impression
of this remains. The present com-
mon seal is double, and is late thir-
teenth century. Itiscircular.measuring
3 in. in diameter, the obverse bearing
the figure of a single-masted vessel on
the waves, with two men on the yard
furling sail. The reverse represents
a Gothic shrine, and is purely eccle-
siastical. It has a gabled-roofed
building, in the centre of which, under
a niche, is a crowned figure of the
Virgin holding the infant Saviour.
At the east end of the building is a
niche containing a figure of a bishop —
on the left St. Thomas of Canterbury,
and on the right St. Nicholas, both
with mitres, episcopally robed, and
having croziers in their hands. The
legend translated runs : " This Port O
Virgin Assist ! O St. Nicholas cherish
it ! O St. Thomas pray for it ! " St. Nicholas was ap
pealed to as the special protector of sailors, and St
Thomas the patron saint of Portsmouth Parish Church
The provost's seal is circular, \\ in. in diametei
and bears the
device a cres-
c e n t s u r-
m ount ed b y
an eight-rayed
star. The
crescent and
star is the old
accepted arms
of the borough,
the date of its
introduc tion
being uncer-
generally sup-
posed that the
crescent was
adopted during
the Crusades, COFFER OF T „, time 01
and the star of the borough of poe
mariners. The mayor's seal now in
use is a copy in silver of the old
provost^. It was in use in 1692, and
1
•
8SMVTH.
:
THE OLD HAND DISPLAY ED OUTSIDE
THE "WHITE HOUSE" (THE COMMON
GAOL) IN THE HIGH STREET TILL
RING THE PERIOD OF THE
FREE MART FAIR
The great mace is of silver-gilt, and
is 48 in. in length. It bears the
i:l. W. II., and is said to
have been given to the town by Sir
Josiah Child in 1678. It is, however,
probable that he gave it during the
year of lus mayoralty in 16
greater part of it is of Commonwealth
period, and was only converted into
11011. The
shall is certainly original, and the
lengths are chased with a running
pattern of acorns and oak leaves en-
circled by a ribbon. The brackets
beneath the mace head are v
tiful, while the foot knop is chased
with oval medallions. Alterations
have been made to the m
th devices
have been replaced by the rose,
fleur-de-lys and harp, all crowned,
between the initials C. R. The
coronet on the head dates from
the Restoration, but the 1 crown are
peculiar, and certainly non-regal. These support an
orb and cross, and beneath these latter on the flat
of the crown are the royal arms
Another
long, is ol sil-
shaftdividedby
kno]>s into four
I
side
The Connoisseur
I.\ Cp.VGRESS
\j?jic umntimoit* ^i-dftratton
and of silver par-
cel gilt. Its head
is hemispherical,
with a coronet of
lleurs-de-lys and
. There-
are fivi open
scroll-work
flanges on the
grip of thi J; tii,
which is divided
into lour sec-
tions. The plate
on the top has
the royal arms of
i lharles II. with-
in the garter.
This in
repain
thirty-fivi years
ago, when t he-
plate was found
to beai on the
id the
fieCom-
ilth. At
the time ol the
Restoration this HHfS
plate had he-en
imply rt\
and! lharl
arms engraved
on it. Om this DEC] VR .. { , , ,- sU K1 , 1N INDi PEN i
., being i " M;i ' * RE " xl v ' i '»• THESE D0C
was made to screw off if desired for
examination. For many years the mace was lost,
but was found in 1.N75 amongst some lumber in the
borough gaol ! The mayor's chain and badge are
ind were bought by public subscription in
["hechaini oni and back,
ledallions representing the old
il a double chain
of Hat and round links with
mouth. 1 1
flat links
with the
front pari
FXmcri
sets of six round
twisted links,
divided by three
medallions. The
central one
has the crest
of Henry Ford,
Esq., Mayor,
when the chain
was bought. Over
this was added
in 1887, by A. S.
Blake, Esq., the
ex-mayor, an im-
perial crown of
gold with jewel-
led circlet, and
beneath it a rib-
bon : jubilee v.
1887. k. Y 1 \ i\
Two curious
water bailiffs'
staves,surmount-
ed by a royal
crown, are inter-
esting. These
are Georgian,
and were used
by officers in
the execution of
their duty. The
curious part of
these staves is
ms existing, of which his is one that when an
officer's duty took him aboard a vessel to arrest a
person, it was first of all necessary to unscrew the
bottom of the staff. Inside the shaft is an oar, which
when removed screws on to the end of the shaft. This
oar was obliged to be shown when boarding a vessel,
otherwise no arrest could be effected. The cofter
used until the reign of Elizabeth for the keeping of
the charters is an oblong box with an arched lid.
It measures only 13^ in.
in length, 8 in. in breadth,
and Sh in. in height. It
is of wood, covered with
red leather, and banded
w i t h s t r i p s of fluted
steel.
In a later issue I will
give a description and
full illustrations of the
magnificent collection of
plate belonging to the
Corporation,
1 Rl >N
IN 1 111 ■ 1!
HERE 1 1
II \ U
111 1 11
THE Kl>
G
V^ T M£s
Henry Walton, Artist
By Edmund Farrer, F.S.A.
Hi
In Bryan's Dictionary o) Painlen and
Engravers, under the name of Henry Walton, appears
the following: — "An English subject and portrait
painter, was born about 1720. He was a member
of the Society of Artists, where he exhibited, as well
as at the Royal Academy, from 177 1 to 1779,
subjects were usually
portraits in small or
domestic incidents.
Several of his pictures
have been engraved.
His death took place
about 1790. Two of
his pictures were exhib-
ited at the Grosvenor
Gallery in 1889." A
very similar account of
him is given in Red-
grave's Dictionary o)
Artists of the English
School, where we have :
" Portrait painter, was
born about 1720. His
portraits, usually of small
size, are tolerably drawn
and tenderly painted,
with some attempt at
expression. He also
painted domestic inci-
dents, in which he in-
troduced portraits, and
exhibited some of this
class at the Royal
Academy in 1777-7S and 1779. He was
member of the Society of Artists. Died about 1795.
Several of his works have been engraved."
In Waagen's Treasures of Art in G> a
circa 1S54-57 — though the author seems to have had
access to the great collections in England — no
mention is made of a
pi< mre by this artist,
nor do I know any
further account of him
in print whatsoever.
The catalogue ol the
Grosvenoi Gall
the exhibition ol 1889
is not in the library at
the Victoria and Albert
Museum ; but I think
it probable that the
pictures mentioned in
Bryan's work as exhib-
ited thru- were by an
i! name,
who was then living.
About the year 1S90,
at Rickinghall,
folk, of an old
by the name ■>
iham. who «
over nni
and
within a radius
The Connoisseur
same spot ; and lie often spoke to me of an
artist by the name of Walton (the Christian name
he could not remember), who, when he, the
narrator, was a boy, resided at a farmhouse (now
called the Oak Tree Farm) in Burgate, on the
n , a in r0 ole and Bury St. Edmunds.
I thought little of it at the time; but some years
later, when I had partly accomplished my visitation
of Suffolk houses, which resulted in a volume on
its, this story of old Gooderham's came
me, and 1 determined to try and connect
this local artist with the man recorded by both
and Redgrave. It naturally struck me the
former might well be the son of a man who had
died between 1790 and 171)5.
This was the fixed idea in my mind when I first
sought the connection, and it was a long while ere I
saw reason to alter it. It seemed to me incredible
that the man who painted The Fruit Barrow, engraved
by 1. K. Smith in 1780, and the Portrait of Edward
GMon,the historian, in the National Portrait Gallery.
could, even had he lived beyond 1790 or 1795, nave
painted in 1806 that of Lord Henry Petty, afterwards
third Marquess of Lansdowne, purchased by the
trustees of the same institution in 1S64— the style
is so different.
I soon found out that the Burgate artist had,
between 1795 and 1810, left many specimens of his
handicraft in the immediate neighbourhood ot his
residence. At Thomham Hall, near Eye, belonging
to Lord Henniker, there are four portraits, exactly
to that "l Lord Lansdowne, painted
■ and in ill-' lower corner of one
en, placed there by the artist, in
tde, " W alton . Burgate."
At Thelnetham Rectory, in the possession of the
Rev. fohn Sikrs Sawbridge, inherited from his
Mi Edward Bridgman, ol < !onej Weston
Hall, who married a Miss Walton, I
a relationship
■. ing on the
three of the pictures aftei
J. R. Smith ; hen', ton, were
<! m similar
the portrait
iiiled in the
d, "Henry
11 ■ and the
nothing to prove conclusively that the Henry Walton
of the memorial ring was an artist at all.
It is to my friend Prince Frederick Duleep Singh
that I am chiefly indebted for the elucidation of the
mystery; he it was who discovered in the early part
of 1908 the family history of " Henry Walton, Artist,"
thus enabling me to state the facts which this article
records. It will be necessary to enter rather minutely
into genealogical details to prove that the Henry
Walton of Bryan and Redgrave lived on after 1790
and 1795, that he was the Burgate artist, and that
he died on 19th May, 1S13, aged 67. The infor-
mation here collected to prove these facts is taken
from a family prayer-book, the parish registers of
Dickleburgh, Norfolk, the Suffolk collections of Davy
in the British Museum, and the will of Henry Walton
of Burgate, proved September 4th, 1S13.
In the middle of the eighteenth century there was
living at Dickleburgh a certain Samuel Walton, born
in 1 7 to; he was the son of William Walton, who
was living in 1720; and in the possession of this
latter gentleman was the aforesaid prayer-book,
printed in 1691, "given to me in 1700, by my mother,
as my father's book." In this little treasure-house
lies hid a good deal of the earlier portion of the
family history, and that same book is now in the
possession of a collateral descendant, Mrs. Walton,
of Bedford. Samuel Walton, of Dickleburgh, had a
wife whose Christian name was Anne ; by her he had
three children. The elder was Samuel Walton, jun.
(so-called in the prayer-book, in the parish registers,
and on his tombstone at Dickleburgh) ; he was born
in 1 741, and died in 1783, aged 42. Of him we
need record no more than that he had several
children, that he received the prayer-book from his
uncle, William Walton, of Norwich, and handed it
on to a third Samuel, who died unmarried ; he be-
queathed it to his brother Thomas Newstead Walton,
from whom it came in direct descent to the husband
of its present owner at Bedford. Samuel Walton, sen.,
had beside^ another son and daughter; the latter
was Elizabeth Walton, born 111 1752. who married at
Dickleburgh in 1771 Edward Bridgman. of Coney
Weston and 1'-';'' dale; she died in 1843, her hus-
band having predeceased her in 181 7, aged (17. The
11 -a, is Henr) Walton, the artist, born (though
1 know not where) in [746, and who is recorded in
the Davy MS. to have "died at Mrs. Fraser's, New-
Bond Street, in 1813, aged 67," tin very date of
the memorial rings. In the will tin- artisl bequeaths
■■ 10 in\ 1 ieth Brid man one hundred and
fifty pou my brother-in-law Edward
I'.iidgiuan ' .1 similai sum. Furthermore, members
mI the fa uel Walton, jun., were painted
by the artist. The portrait said to be Robert
Rayner, who married one of the daughters, in
a shooting costume characteristic of the period
(c. 1790), carrying a gun, is still in the possession
of his grandson, Mr. Cooper, of Ashen Hall, Essex.
Mr. Rayner's first wile, who was Frances Walton,
was painted seated at her spinning wheel ; but
the picture being used as a fire-screen was des-
troyed. Many other members of the family,
painted by the artist in miniature, are in the
possession of Mrs. Walton, of Bedford, who also
owns proof copies of The Fruit Barrow, and yet a
third memorial ring.
Thus there can be no doubt but that the
artist was connected by family tics with the Bridgmans
of Coney Weston, in the possession of which family
and their descendants were, and still are, pii
engravings by and after the Henry WaltOl
and Redgrave. He was not born in 1720, but in
1746; he was therefore 25 years old 'and not 51)
when he exhibited his first picture at the
Artists; but why he ceased to exhibit abo
II. WALTON
The Connoisseur
unknown, seeing that he painted after that so many
portraits of celebrated people.
There is in the possession of Mr. Harvey Mason,
of Necton Hall, near Swaffham, Norfolk, a picture
painted by Walton, with a verified record on the
back, which gives one valuable piece of additional
information concerning the artist's early career, the
truth of which will be very evident to anyone who
carefully studies the style and technique displayed
in the pictures painted prior to 17S0. It has well
been described as " Cricket at Harrow in 1772, with
portraits of William ami John Mason and their tutor,
Mr. Ambrose Humphreys." The centre figure in it
IDs lllll.'l)
ij (William Ma on) holding in Ins hand an
ed curved cricket bat; the youngei boy
is partly kneeling on the ground, on
th picture. The 1 istume is
■• nig, as it does, what was worn
at Harrow about that period — loose
, and tight wrist-
1 oats, with gold buttons ;
having gold buttons at the knees ;
similar buttons, is on the ground,
the sinister
-presents a
• hi lattei
is not an artistic production at all. On the back is
an inscription written later by William Mason, the
elder of the two boys, " The picture was painted by
Walton, of Faunham (sic), near Bury. It represents
his patron, and my most estimable friend, Ambrose
Humphreys, Esq., myself and my brother John
Mason, playing at Ciicket at Harrow, where we were
then at school under Dr. Summer . . . now Dr. Parr,
assistant. It was about the year 1772. Walton was
placed by Mr. Humphreys under Zoffany." Indeed,
the figure of the tutor might well have been painted
by Johann Zoffany. One further point connected
with this picture may be of interest. William and
John Mason were the sons of William Mason, Esq.,
of Necton Hall, by his wife Elizabeth, the daughter
and co-heir of the Rev. Francis Blomefield, rector of
Fersfield, the well-known antiquary and historian of
Norfolk.
Two other paintings exhibiting Walton's earlier
(Zoffany) style are illustrated in this article. The one
is in the possession of Dr. Crowfoot, of Blyburgate
House, Beccles, and represents three young men in
the costume of the period (1770) with a boat alongside
the bank of the river Waveney, between Beccles and
Yarmouth. The centre one of the group is William
Crowfoot, an ancestor of the owner; the two otheis
were his college friends, sons of Mr. Burroughes, of
Long Stratton, in Norfolk. In Blyburgate House
there are many portraits by Walton, some painted
thirty years later than this, and Dr. Crowfoot believes
that the artist often resided for a while in Beccles.
No doubt, like others of the profession, he shifted
about to find work for his brush.
The second portrait represents a cleric, of an ancient
Suffolk name, the Rev. Charles Tyrell, rector of
Thurston. He died in 181 1, aged 70. The picture
was painted probably about 1790, or even earlier. It
is now in the possession of a descendant, Commander
Browne, R.N., of Rougham, near Bury St. Edmunds.
Through the kindness of Mr. J. S. Earle, of Ken-
sington, I am enabled to give a list of the pictures
ol Walton which have been exhibited at the Society
of Artists and at the Royal Academy. The following
is from The Society of Artists of Great Britain, by
Algernon Graves, 1007 : —
■• Henry Walton, painter, Great Chandois {sic) Street, Covent
Garden."
1771.- 198. A Family.
1 7 7 1 . 199, Portrait of a Nobleman, small, whole length.
1771. (El nz., Fellow of the Society of Artists,
leen street, Lincoln's Inn Fields.
1772. — 359. A Family of Children, small, whole length.
1772. — 360. A Portrait ol a Nobleman, small, whole length.
1. A Portrait of a Gentleman, small, whole length.
1772. — v Gentleman, small, whole length.
■
■}■
IK
iRLES, FIRST MARQUESS CORNWALUS,
OGBORNE, AFTER H. WALTON
I Colour Print in the possession of
H. Pri,
l-'iclr.
Duleep
Henry Walton, Artist
1772.— (Director F.S.A.)
'773-— 4°3- A whole length of an Office..
1773- — 469- A Conversation.
I773- — Hill St.eet, Berkley {sic) Square (F.S.A. ).
I 77 6 -— Ij 1 - A Oirl plucking a Turkey.
From The koml Academy of Arts, by Algernon
Graves, 1906, we have Henry Walton, painter, Hill
Street, Berkeley Square.
I777-— j6o. A Market Girl.
I77S. — 322. A Girl Buying a Ballad.
I779—338- A Scene in the Spanish Barber, Act I., sc. i.
1779- -339- A Group of Figures and a Fruit Barrow.
In Smith's Brilisli Mezzotint Portraits four are
recorded as being "after Henry Walton " :
(1) Mrs. Cur/is, engraved by Henry Hudson.
Bromley mentions 17S9 as the date of this print. It
represents a lady seated on a sofa. There is a copy
exhibited in the Cheylesmore collection at the
British Museum.
(2) Walton Family, tin- Fruit Barrow, mezzotint
by J. R. Smith, published March 6th, 17S0. Accord-
ing to Bromley, it represents the children of the
artist. According to Brande's catalogue tin. youn
lady is Miss Carr. the boys the nephews, and the
little girl the niece of Walton. It is evidently
No. 330 of the Royal Academy in 17711.
(3) Life ami Works of J. R. Smith, by Julia
Frankau, 1002. Plucking the Turkey (Walton)
W.L. A woman sitting directed nearly in profile to
left ; cap, crossbarred gown, apron ; pulling feathers
off large turkey, supported on edge of hamper before
her. Under : Painted by H. Walton, engrav'd by
J. R. Smith. Pluckmg the Turkey. Pubhsh'd as the
Act directs, Jan. 26, 1777, by J. R. Smith, No. 10,
Bateman's Buildings, Soho Square, and W. Darling,
(Ireat Newport Street. Price is. (id. H. 14, Sub. 13,
W. 9^. (I.) Engraver's proof before any letters;
(II.) As described. This is undoubtedly the picture
exhibited at the Society of Artists in 1 776.
(4) The Silver Age. Mezzotint by J. R. Smith.
Published January 30th, 177S, by Boydell — a com-
panion to The Golden Age, painted by P.. West,
and engraved by Valentine Green.
In the work just previously i]tioted by Julia
Frankau, 1902, a description is given of an engraving
after Walton, called The Pretty Maid Buying a Love
Song. It was printed for, and sold by Carington
Bowles, at his "Map and Print Warehouse, No. 69,
in St. Paul's Churchyard, London ' M,iss Frankau
describes it as " a street scene, on tin.- left a young
woman in hat and undercap, dainty dress ol sniped
material, heart-shaped pincushion hanging al sidi ,
standing and in the act of taking a ballad
number of others suspended on strings along a wall
at the back of their owner, an old man seated on a
box, hat in hand on knee, walking stick betwei
waistcoat tied together with string, broom 1
left." This picture is identical with one of which
Mr. Sawbridge owns a copy (illustrated here), called
The Young Maid and the Old Sailor. Painted by
H. Walton, prepared by I. Walker, and finisl
F. Bartolozzi. Published Feb. 1, 17 s, by R. Willman.
No. 53, Cornhill. The title has six verses under]
This print in bistre fetched T:2 is. fid. in [902
Ilit.- portraits only have, as far as I km
engraved : —
(1) In mezzotint. The Right Hon The Earl of
Orford,vtt. 83, [806, Henry Walton, pinx'-,C. Tinner.
scttlpsit, and the print is dedicated by psrn
" Rt. Hon. Pad;, Catherine Walpol
very humble servant, Henry Walton, I on '
lished Ma\ 1, tSo6, for the proprietor, by R. Cribb,
I, Holborn."
(2) In mezzotint. Lord Henry Petty .
bom 17.S0, died [863. Chancelloi
1806-7 ! succeeded as 3rd
[809. Henrj Walton, pin
1 . in cribed, "The Rt. H Lord 1
prinl is with permission
(sic) to Ins brother, The mosi
ib d "
ton.' Publishi
The Connoisseur
prints are recorded in
Nineteenth-Century
Mezzotints by Charles
Turner, by Alfred Whit-
man, 1907.
(3) In dot and stipple.
2 id Earl and
1 ft \l irquis Cornwallis,
A'.i ,'.. I lovernor-General
of Bengal. Horn Dee.
21, 1738, died Oct. s,
1805. It represents the
headand shoulders only,
in uniform, with the rib-
bon of the Garter over
the left shoulder, and
m the left breast.
It is inscribed, "Marquis
( 'onnvallis. 1 1. Walton,
pinx 1 , J. Osborne, sculp' .
Published as the Act
directs, July 1, 17115.
No. 5, Curzon Street."
The original of this pic-
ture is painted on cop
per. in oils, and is in
the pi «se ol 1 .ad)
Buxton, of 32, Cadogan
stipple, and coloun d, w en
111 dot and
to be seen in
From a bill
a few ni the country houses in Suffolk.
:: it may be inferred that Walton touched
upthi: colouring himself, as the charge, yj is., for so
iving would, a hundred years ago, have
ive price. ( )ne of these
prim ■ 1 - in tin- possessii m ol I'rince Frederick
1 'uleep Singh, and it has
been illustrated in this
article. None (in
colour) exists at the
British Museum.
After 1S10, and just
previous to the artist's
death, we find him once
again devoting himself to
domestic incidents, tak-
ing the material for such
from around his country
home. The piece of
pasture land between his
house and the road is still
called by the men who
JWm work on the farm " the
*•«■ painter's meadow." Just
then as thirty years be-
fore he took his models
and his details from the
city streets, so now it is
country folk, the plough
boy, and the village maid
that he depicts, and the
scenery and the sur-
by 11 walton roundings those of
everyday life.
We 1 annot help noticing in these, the artist's latest
productions, a certain similarity to the work turned
out a little earlier by George Morland (whom Henry
Walton may well have known), though it must be
confessed it is a similarity of subject more than of
style or technique.
One such picture is in the possession of Mr. Frere,
of Roydon Hall, which in treatment, workmanship
) AND THE OLD SAILOR
ALKER, AND FINISHED BY
AFTER H. WALTON
Hairv U'allou, Artist
and colouring is superior
to any work of Morland's,
which, more often than
not, • are slovenly and
coarse. It is called The
Barn Girl. The figures
are portraits of the wife
of Edward Dykes, of Eye,
and of a man named Flat-
man, then of Eye, and
afterwards of Roydon. It
was painted in iSin, and
was not paid for till after
his death.
Another picture at Roy-
don Hall remains still un-
finished : the artist was
engaged on it when he
died. It represents a cot-
tage interior, with portraits
of John Trew, an old ser-
vant of Mr. John Frere, of
Roydon Hall, with his
grand-daughter. A letter
was written to J. H. Frere, on the i;r
Esq., Roydon, from Bur-
gate, by the widow of the arti-t, on (1
which encloses a bill ; both of these d
interesting and worthy of reproduction.
" Friday morn* Mrs. Walton presents her com-
pliments to Mr. Frere. As it is her desire to bring
all her pecuniary affairs into a settled state, and
having nearly accomplished her wishes, she sends the
account of the Pictures painted for his Family, with
their respective prices annexed. The two unfinished
pieces, one of the late Mrs. Frere, the other of the
old servant (both which Mr. Frere took home with
him the last time he favoured me with a visit),
Mrs. W. has not affixed any price to, leaving it to
Mr. f. to put a value
upon them him
The bill gives the price
of the little oval p
of a subject pic-
ture, and the price of a
miniature
cord how much was
paid for I
d ami shoulders,
like the portraii
Lansdowne and those at
Thornham Hall.
I mallovall/'io IO o
\ 1 ■ 1 if M
5 s
A Portraii ol I
(small square) ... 5 5 o
A Portraii ol Mr. I 1 re
5 5°
Two hints ol I
the K;
A Min
(Lady Orde
uents
\k beccles With regard to the
miniatures which Walton
executed, they are not very line: the greal
them are still in the possession of the family ai B&
It will be inferred from the letter printed, and tin-
bill from the widow to Mr. Frere, that though the
artist died in London he was then living at Burgate.
Such was evidently the case. In his will I
his wife, Elizabeth Walton. exei uti \, and to her
he bequeaths the farm where they lived. SI
daughter of Mr. Rust, of Wortham Hall, the village
of that name adjoining Bu
the cause of the locality of their Suffolk
and hence the quantity of the artist's work which
remains still around.
0] D R(
ORGIAN, 26, HATTON
\RDEN, E.C.
The Years of Mahogany
Chippendales, 1730 to 1740
I i i'1-.ATKn, in the last article, of the "Lion
Mahogany," 1720 to 1730; and of the complete
domination of Kent during those " Lion Mahogan)
years; and pointed out the struggle for supre,'.i.io\
that set in during the next decade of 1730 to 1740
between certain French influences towards a more
graceful style as against the heavier style of Rent,
who still had a wide influence. This struggle lor
lighter and more graceful proportions brought forth
as its chief craftsmen tin- Chippendales. The dei ade
of 1730-40, which succeeded the "Lion Mahogany"
years, out of which it was born, I have called the
Part VIII. The Rise of the
By Haldane Macfall
years of the Rise of the Chippendal
features in the development ol the 1 hair were the
<upid's bow cresting with th 1 all foot,
which held the fashion from 1730 to 1750.
Now lei 11- gel .1 I1r.11 grip 1
give as illustration to this article, by the courtesy of
Mr. Perceval Griffiths, a superb and typical exan
'a walnut double seat made in the " Lion Maho
years of 17 jo to 1730. This is one of the purest
types of about the middf' of the deca " Lion
Mahogany " craftsmanship, wh n Geo
was king over us. And as companion pi<
The Connoisseur
III A MM I DOUBLE-CH.A
•:e of Tilt
n «iil id, b) the kindness oi the same owner, to show
ili- mgh also made in
as was much ol the best furniture still, and
\ r\ interesting as showing the gadrooned edging to
th und i frame ol the table, which was also employed
■ 'ii rails ol i luiis in the like manner. Mr.
enables me to illustrate the last phase ol the
•■ Lion Mai i rnp] ol an
I i hair in which the seat-rail is
completed by the handsomely-carved convex bulging
form of which I spok i in th i lasi artii le. Here, on
the uprights of th i . the verj beautiful
■ ■ n ;r; f i arving ivhii h
le of i 7,50-40 with
the Kenl
1 in I Ihippi xriAi 1 s, 1730-40.
he Chippen
1
end with
nongsi
nakers. In the
...
decade the lion's foot passes out of the fashion, and
even the graceful Chippendale bed-posts reject it for
their bases, and take on more graceful forms.
The year 1733 saw Walpole remove the duty from
imported timber ; mahogany was thenceforth shipped
in very large cargoes from the West Indies. Its warm
and rich colour, its greater lightness than that of oak,
lis greater adaptability for carving, all brought the
new wood at one- into wide favour.
Now, whosoever chiefly affected the London de-
signs, the fact remains that the early seventeen-thirties
saw the heav) "Lion Mahogan) " designs of Kent
being a sailed bj Frenchified tendencies towards
grace ; we know that from the tunc the elder Chip-
p ndale ere to town with his brilliant son and
op n d Ins workshops at the end of the "Lion"
decade a marked movement towards the French
grac ifuln b gan to set in. The top rail of the
chair chans d from th ■ hoop to the squareness of the
"cupid's bow," and the splat was pierced into slats.
I showed, in the lasi article, these graceful qualities
ippli :d to the Kentish " Lion Mahogan) "
di ;ign and th la .1 illustration was a superb doubl 1
Mr. Pen eval Griffiths, in whii h the
111 lull possession, and the
The Years of Mahogany
MAHOGANY
PHOLSTERED
ARMCHAIR
OF THE
END
. 11 1
HE LION
YEARS,
1730
SHOW
ING THE
I'll
GINC
SEAT
1- A t ]
!Y KIND
PERMI
SION OF
WM.
11. 1 Mil R
F S 1 '
No. V.— UPHOLSTERED CHAIR Of 1;
SHOWING THE PASSING OF THE LION MASKS FROM
KNEES OF THE LEGS BY KIND PERMISSION
OF PERCEVAL D. GRIFFITHS, I
splats are beautifully pierced in upright slats. That
settee is an undoubted Chippendale piece, and is the
finest example I have ever seen of those years when
Chippendale brought his genius to the craftsman-
ship and the designs of the past decade, and stood
revealed as a cabinet-maker, the consummate English
craftsman of his age.
Now this Chippendale double-seat gives us the
work of an absolutely new genius ; it is born out of
the "Lion Mahogany," but there is over all a sense
of style, of elegance, of grace wholly foreign to its
parentage. If we set down its birth to the middle
year of this decade that followed the "Lion Mahoganj
years and say it was made in 1735, we shall be but
a few months out either way. This would make the
younger Chippendale, born about 170(1, about twent;
six at its designing. His is clearly the master-mind
in his great father's designing rooms, and he is in the
full vigour of manhood, impressionable, forthright,
and deeply imbued with his lather's skill in
the fashions and adapting them to hi
We, unfortunately, do not know ivh
Chippendale died. But' whether a
rade, or alone, Chippendale was now
full strength of his career, and rapidl) forcing himself
to iii" front.
Now let us note another fact.. It is about this
time that a wide fashion sets in for the d 1
sweeps and curves. What is known as tL "Mari
Antoinette " Chippendale chair is of this time. Marie
Antoinette was not yet born, but the chain
1 ■
are still in the 1 " i >st ol th ■
suite n turn d to England in afti r year; Hen \
see the rapi
ol the decoration which s t in und r
■
chairs. ..night from .
The Connoisseur
ANTOINETTE
MAHOGANY CHAIR OF
RECTOR YEARS, 1 7 3 ? - I 7 3
and the lighter forms rapidlj developed. The decora-
tion "i Mi Km I. ol the i hail tool? on those curved
■■ flat stra] ad of the upright slats in the
thus.' strapping which we associate with Chip-
: arl istrj and whii h wi re lati i on to develop
' i "ribbon-backs." These "strappings"
n rally found to be kept within the original
ol the old vasi shaped splat, bul oo asionally,
as in the " Mane Antoinette," ( )hippendale carried
ross the whole bai k. There is no
happiest when clinging to the
of the ordinary type i 'I
iiii Idle 'lass home, a
from the I ime i >l
mid-i entury.
; i hippendale " chairs show the
rapping that cam
I it applied
■ i cl naturall)
h 'ii in I ondon.
absolutely
\ wood, anil must
th, as 1 shall
L'o
during these ten years of the rise of the Chippendales,
the chair had become more graceful and elegant in
general design — the back had become squared, topped
liv the "cupid's bow toprail" — the heavy lien's paw-
had given way again to the "claw and ball" foot —
the knee of the cabriole leg had shed its heavy masks
and lion's heads, and was carved in low relief with
the acanthus and the like — the splat, first split into
upright slats, became strapped with curved flat
We now come to the famous "Bury settee," which
is an historic piece made by the Chippendales for the
Bury family. It must not be confused with the Early
( Jeorgian settee that went with the Bury chair, to which
1 have ahead) called attention — also made by the
firm ol i hippendale foi the Bury family. The confu-
sion amongst writers upon this subject has, I fancy,
b en larj i lj due to the fact ol these two suites having
bi i n male for the Bury family. Family tradition has
it thai the Bury suite was made for that family by the
eldei Chippendale "before he went to London."
This is exceedingly likely to be correct about the suite
ol which I have already written; it is certainly not
true about the Bury settee, which I am here about to
illustrate. This four-backed Bury settee could not
The Years of Mahogany
SHOWING "FLAT STRAPPINGS
have been made before 1735 ; and was more likely
not made until 1740, when the Chippendales had
risen to a supreme position amongst the London
craftsmen of the day. Nor is there any likelihood that
a county family like the Burys would cease to get
their furniture from the Chippendales because they
were becoming a famous London house— indeed, they
would be proud to support the old man ami his
brilliant son. At any rate, the four-backed Bury settee
shows the Chippendale strapping am
b<>\\
top-rail ; and 1
of this period.
quiet but tine example of their work
FORE-DIRECTOR CHIPPENDALE, 1740-1750.
The next ten years, to the mid-century, saw the
Chippendales supreme. Walpole fell from power in
174-', and Kent was to pass away in 174S; during
tins decade Chippendale led the design in English
furniture, to all purposes without an equal to rival hi ti
and keenly desirous to hold the leadership ami main-
tain it. It is the period of his most solid achievement
—rid of all Queen Anne influences inn 1
father. Unfortunately, but little is i 10
until near the end of the decade, when he was 1
sound a financial position that he married in
and took .1 shop in 1740. emploj in
stafl of workmen. But he was soon to gr\
to the world, in the form ol a book, which 1 nables us
in some measure to recon
these ten years previous to its publication ; for he
would be little likely to risk the enormous exp
such an undertaking anl h « re an authorit) and
had an assured po i
Oi these fore Direetoi years w
tionofhisch
marked h\ greati r perfection ol carving, gi
;m ,l general tendency towards lightm s. 11
rapidly towards the Frem h i< ' • adapting
1
be almost defined as the pui
Po Mr. 1 '■■a. eval Griffiths 1 am
' Chippen-
whicb are v rj showing the
cupid's bow top-rail, the.
the gadrooi
foot.
■
I
The Connoisseur
Xo. IX. — MAHOGANY CHI
:>UR-BACKED BURY SETTEE. I J
174". SHC
carved frill to the under part of the top-rail that
generally ends in a rose on the splat. This "fringe
and tassels " decoration seems to have had i onsidi rable
\ ogue during tliis decade.
The other chair, though in walnut, also gives a good
idea "i ill- develo] ml ol the chair during this
decade. By 1750, Chippendale had rejected the claw-
and-ball loot .is going out ol the fashion, ami he was
about tn create the light ami graceful and slender
styles that an recorded for us in his famous book of
The Director a new style that formed a marked
innovation, hut which di velop :d naturally enough out
el ili e solid years ol design, of which I have spoken
, : Dirti tor decade. I nany causes
vvhii h Id up to this new development, and 1 will show
1 ind the results upon the
furniture ol ihe English home. Hut I think suffii ient
t\ idence in the evolution ol the 1 hair from the " I. ion
n\ '" has been sel forth to pro vi thai Thi Unas
po itii 'ii .cm mgsl 1 ,1 mdon
befoi 1 1 gave forth his book
of The Director to his subscribers; and 1 trusl 1
ai tlj that
ii was.
n i nt died in 17 l8. I Ins was
Chip "and himself so firmly
h d 111 liis busim tl ti he married, and in the
for his business.
There is one point that should always be kept in view-
in considering the Chippendale years, whether we admit
his vast influence before the printing of The Director
or not. It is true that Thomas Chippendale claimed
the rank of artist, but he never forgot that he was a
tradesman, and, as a tradesman, it was his fust business
to supply people with wdiat they wanted : what they
required was the fashion of the day. But what
Chippendale did, and was chiefly proud to do, was
to claim that he could "improve and refine present
taste." It was all in that " present taste." He did
not pretend to . reate it ; indeed he knew full well he
could not ; but he essayed to lead it — and he achieved
it astounding well. Chippendale was not above pub-
lishing poor designs ; he did so sin. But wheresoever
lie controlled the making of English furniture he
wrought his work with a master hand that brought
distinction to all he did : and when we compare his
treatment ol thi vagaries of his da) with the treatment
of them by his fellows, we at once realise how he
stood head and shoulders above them all. For this
reason we oughl to label the work of his age with his
name. We have the additional evidence of his
upremaC) in the attacks made upon him in the
tcci isors.
( hasping this point that Chippendale, from youth
lo death, was not s, , much a creator as. in adaplei and
pmiiiei ol vogues, we come to another point which
The )'cars of Mahogany
cannot be too keenly insisted upon — the far too great
weight placed upon the evidence of books of design
that began to be published about the mid-century, of
which The Director, by Chippendale, that we are
about to discuss, is the most famous, but, contrary to
the generally accepted idea, by no means the first. It
should never be forgotten that these expensive books
were nothing more than glorified trade catalogues ;
and that they contained by no means the most normal
and characteristic types of the furnishments designed
or made by the authors or issuers. When we come to
Chippendale's Director in the next article we shall find
no hint of the claw-and-ball foot, for which soni
finest chairs are so famous; and though this probablj
shows that he looked upon this foot to the chair-leg as
having belonged to his past designs of the fore Director
period, we must not conclude from that fact that he
wholly discarded it — for we shall find him employing
it upon the legs of his "ribbon-back" chairs, which he
was about to give to the seventeen-fifties and seventeen
sixties.
William Jones had published in 1739 The Gentle-
man's or Builder's Companion, \\\ whii
pseudo-French furniture is displayed, showing
any rate the coming French vogue, and in
year of 1740 The City and Country Builder's and
Workman's Treasury of Designs di
what criidc- designs of Hatty Langley .hi
Langlej " foi the u ;e ol a orkmen I
I angle) 1 1 mtempl ol thi cabin t-mal 1 of the day,
as poured forth in his preface — (th !
inflict prefai es upon mm
bear ii ing wi
the fashion in tin fore-ZV;
prove thai < hipp n
men of hi; in it
book is thai amon
pression 1 01 me is thai
French ideas were crudel) ntly joined
to the hi avy 1
I
us rivals to hind r
The Connoisseur
No. XI.-
'IIIE CHIP]
IDALE FORE-
p riod whi« h the i ourtesy ol Mr. Perceval Griffiths lias
enabled me to put before the student and collector,
were wrought by their hands or under their guidance.
And before coming to The Director, let me again
wain the student onlj to rely on these elaborate trade-
catalogues Ol tin- nival i raftsmen in the must i autious
way. They haw their value ; but ii is by no means
a high value. I?hej are most misleading unless they
are treat :d with the utmost i aution. They give but
i [ impress i the full achievement oi theii
authors. The Director is barren ol the great claw-
and-ball designs which are th supreme masterpieces
of Chippendale; just as the Adams should not be
b) theii printed works, or we should be mis-
led into the id a that no single piece i >l main iganj
furniture owed its origin to them. It would be a
but i" Heppl whit it we onlj judged his
I iv his published designs. And Shi raton
would n i\ i have reached to his « ide fame it his
only witn word.
Nothing, fi ore misleai ling
than the impression prodm d bj ? 'it Dire, tor that
Chippem i 1.1
n far i [ualitii than gilding,
i , i m 1 1 r of fai reatl employ.
We must now enter more carefully into Chippen-
dale's life and position. First of all as regards his
position. Born in the middle years of Queen Anne's
reign— about iyog — he came oi a lather who was
already famous in Worcestershire as a gilder, a carver,
and joiner, and particularly famous for his carved gilt
picture-frames. Tt will be found that Chippend.de
signs his name as a " joiner " ; and as a " joiner " he
is spoken of in all the earlier records of him. A
" : i mi < " u.i i oi superior rank to " cabinet-makei ' ;
it was a status jealously guarded. One cannot read
these eighteenth-century works on furniture without
earlj realising this fact. Some writers have been at
pains to ii \ and explain awaj his title ol "joiner." As a
mattei ol fact, like his father before him, he was a
tine gilder as well as carver; but neither ol these
,e tiviti - would have made him what he became. He
was a creative craftsman; he had many workmen
under him to carry out his instructions in carving
or in gilding ; he had none who could en at tyl
and design as he did. "Joiner" was a word which
has sim e largi lj i hanged plai es with " cabinet-
maker" whereas Chippendale would have been
mortallj off rid d had anyone so changed the titles
in his d,
' HUDIBRAS
BY RALPH WOOD (175O-I772)
(In the Stoner Collection)
Pottery and
Porcelai
The George Stoner Collection of Figures and Groups by the
Ralph Woods of Staffordshire Part I. By FranK FalKner
The nation owes a debt ol gratitude to th
late Sir Augustus Wollaston Franks, K.C.I!., for Ins
presentation, amongst other valuable treasures, ol a
small collection of figures modelled by the Ralph
Woods.
At the time of the gift very little had heen written
upon our production in this particular school of
earthenware figures, and the labels attached to the
interesting little objects, deposited in the <
section of the British Museum, bore dates which have
been altered in accordance with more recent know-
ledge ; the generous donor no doubt recognised an
excellence in these statuettes which caused them to
stand out in prominence' from the vast number ol
ordinary so-called Staffordshire figures.
The family of Wood, connected in tin • arl
of the eighteenth century with a tri
the Wedgwoods ol Bursle n, bee ne
"Big House" Wedgwoods, inheriting not only por-
tions ol tii' ir valuable estates, but, in the p rsons of
the two Ralph Woods, father and
tradition in the an < I i ■> >< h 11 in.u •
( Ine distinguished memb i i i ily in the
■ ntury was Aaron >'■
block cutter, who designed most i >l
whii ii tli • o\ :ted " s ilt gl;
: I lels and pitcher blocks still retrain
in the possession ol one o
Mr. John Badd( ley-Woo ! : Hall, Ludlow.
Another member was Enoch Wood, known as " the
Father ol the Potteries," who became an able sculptor.
He, as a young man of twenty- two, wasai corded sittings
Nos. I. to V.
The Coiuioisseiir
by John Wesley, then in the seventy-
eighth vcar of his age, the result
achieved being the well-known
Wesley bust, pronounced by the
great divine to be the best portrait
ever taken of himself.
It may here be noted that from
original correspondence kindly
placed at the disposal of the writer
b\ .1 member of the family, a direct descendant of
the Enoch Wood branch, the exact date and details
of this notable piece of work have 1" come established.
Beautiful as are the salt-glaze moulds of Aaron Wood
and the skilfully modelled busts of Enoch Wood, the
early figures anil groups of the two Ralph Woods,
decorated in their delicately coloured glazes, maybe
cited as being the' most artistic and original produc-
tions in earthenware- figures of any of our great
English potters, with the one exception of that extra-
ordinary genius John Dwight, of Fulham, of whose
work, in an entirely different school, so very few
examples are known to remain.
Ralph Wood, born 29th January, 1715, died De-
cember, 1772, son of Ralph Wood, born 1676, married
\1,![\ Wedgwood. He was the tenant and protege of
Thomas and John Wedgwood, of the "Big House,"
who were uncles of his wife. Josiah Wedgwood also
NO. VI. — SAUCEBOAT
Jr"^ married one < if their nieces, and these
two young potters were allowed at
that period to occupy portions of
the workshops as they became
relinquished by Thomas and John
Wedgwood, whose wealth had by
then sufficiently accumulated to
justify their almost complete retire-
ment from the pottery business.
Three brothers of the Wood family, viz., Ralph.
Aaron, and Moses, were at different periods tenants
of the "Big House" Wedgwoods. The first-named,
no doubt, was associated with them until 1766, or
even later. His sons, John, born 1746, died 1797,
and Ralph, born 174K. died 1705, set up in business
for themselves, but were obliged to close down in
1773. Financed afterwards by their uncles, they
both eventually became successful potters, John at
Brownhills, near Tunstall, and Ralph, the figure
modeller, at Burslem, opposite to Mitchell's Hill Top
works, north of Fountain Place.
There is a family tradition to the effect that in
1772 Ralph Wood, senior, had then been for some
time in partnership with his son John, and later
John and his brother Ralph carried on the same-
works, where for a short period, about 17S6, Ralph,
junior, was joined by his cousin, Enoch Wood, who
II , VI II. AND 1\. I'AIR OF DOI.
<|<!I. I , IMi
NO. XI.— ALDERMAN BECKFORD No. X.— THE VICAR AND MO No. XII. BENJAMIN FRANKL1
No. XVII. — THE FLUTE PLAYER
■' V " X '
The Connoisseur
eventually built, and occupied
for many years, the celebrated
Fountain Place works in Burs-
lem. Mr. George Stoner has
for some time patiently gathered
together many examples of the
work of the Ralph Woods, and
more particularly is his coll i tiori
rich in spei imens decorated with
coloured glazes.
Without going too much into
technical details, fully set forth
by our recognised writers upon
ceramics, it should be explained
that the Staffordshire- potters have
adopted on broad lines two
distinctly different methods of
i L ' oral ing their coloured figures,
the early process being that of
colouring their Lead glazi s with
metallic oxides and applying
them with a brush or pencil,
and the other by glazing first,
then applying enamel colours
upon the glazed and fired surface,
and again firing the object in a
No XI'
muffle kiln at a low temperature.
In the former method the beautifully subdued
coloured glazes having been thus applied, a certain
amounl of irregularity is discernible, and here and
there spaces upon the surface of many specimens
where the brush has missed have accidentally been
Left quite unglazed.
These differently coloun <1 glazes blend or merge into
eaeh other with very artistically soft effect, and have
b n termed " flown " colours by some writers. This
definition is, however, also applied by the working
potters tu results entirely different and consequent
upi 'ii if I. i tive firing. In i 750
the popular term used in describ-
ing similar product ions was that
of " mottled " or "cloudy" ware-.
I he marking w ilh tie ir nann s
"i j ml'": In. ill. potters upon
their wares has been a fas< inating
tO students
a\v\ collectors hi ' 1 ramii s, and n
would appeal as though
rules w : 1 adopted
ol Staffordshire. W hile
find if" seveni -nil] century
mill! 1 1 1 . ■ 1 i
called " slip -1 'Tofi 1, \,,s. \\
those of the early eighteenth
century only occasionally marked
their productions, and in the case
of Thomas Whieldon, who was
working in 1740. and who Lived
till 179S (and was made the
High Shi r, if 1.1 Staffordshire), we
have not left to us one single
example bearing his horn Hired
name.
The Ralph Woods not only
adopted occasionally two distinct
marks, viz., " R. WOOD" and
" Ra. Win id, Burslem," but in
addition we find a series of
mould numbers, to be referred
to in a subsequent article, and
these-, like their names, they
clearly impressed into the paste.
As the mark " R. WOOD" in
capital letters has only been so
tar found upon examples dei 0-
rated in the earlier manner, it is
natural to assume that this was
adopted by tin- father, ami the
mark " Ra. Wood, Burslem"
(capitals and lower-case letters),
found upon objects both with the early coloured glazes,
as well as those coloured with enamels, would appear
to have been in all probability used by the- son.
Until comparatively recent days the earthenware
figures of Staffordshire have- been described as having
frequently been imitations or copies of the china ones
manufactured at the Chelsea or Derby factories.
This accusation, however, cannot truthfully be brought
against the Ralph Woods, as a distinctly original
character both of design and decoration is observable
m the work of the two potters under discussion;
indeed, Mr. Stoner informs us
that, so far, he has not yel seen
any ( Ihelsea, I >erby, or other
1 hin a group copied in the models
ol the Ralph Woo.N.
Nor are their designs limited
to an h as mighl please only the
inhabitants ol the cottage. The
dignified group of Hudibras
mounted upon his wearj 1 ild
steed (s.e coloun d illustration
plate ), ami man) ol the mori
la iii figures, would have suil ■
ably adorned the mam Lpi
and • abinets ol less humble folk.
This remark might also apply to
The George Stoner Collection
many of the
Staffordshire
s tatuettes
made b) oth i
and later pot-
ters. The fai
of Hudibras
s h o w s great
p o w e r o I
m o d e 11 i n g,
and the whole
conception is
m
n 1 1
clever. The
mould num-
ber Of this
piece is 42.
To revert to
the effects pro-
duced by the No. XIX.— SHEPHERDESS No. XXI.
two different
methods of decoration, those of the coloured glaze
school are much more subdued in their tints l>\
reason of the somewhat limited range of chromatic
scheme appropriate i>> the proc :ss : thus the faces and
hands could not be represented in true flesh-tints.
Moreover, it is hardly possible by the camera or any
other means to do justice in reprodui ing objects thus
decorated. Afterwards, when the enamelling method
was developed, more positive colours in all
became attainable, with the result that the schem ol
decoration was frequently
crude and garish.
Mr. Stoner's enthusi-
astic appreciation of the
Ralph Woods' work has
resulted in an important
collection of nearly three
hundred examples, and
we are enabled to illus-
trate a characteristic
selection t herefrom.
When a number of these
figures and groups are
assembled together,
their beauty of colouring
and vigorous originality
of modelling may at
once be recognised, and
there runs through the
collection a harmonious
scheme of subdued
colouring quite peculiar
to this particular si hool,
uch to
M i
in the
full -
treat m
Such i
nee in
jnising
the « l
these men and
exam]
helostsheef Xo.xx. shepherd bearing either
I
marks, lor onl) occasionally are specimens
found with thi- names or mould numb -
Although research up to th pr senl
revealed chiefly figures and groups as having
the products of the Ralph Woods, sufficient evidence
exists to prow that other objei I
lb. -ii l.i' tor)
A sel ol three obelisks, marked wit] I
"Ra. Wood, Burslem," and the mould number 84,
are known, and until recently wen- supposed to have
as candle-
top sue,-, sling the idea
in. This is now i
with Mr. Stoner's kind
The Connoisseur
whole mounted upon a square pedestal with oval
medallions upon each of the four panelled sides.
The top and botto n borders of the pedestal, moulded
with acanthus leaves, are also decorated with early
gilding, and the addition of the urn gives a remarkable
finish to the design.
Xos. i., ii., hi., iv., and v. represent a set of five
\ases, somewhat rococo in design, and bearing evident
characteristics of the work of the Ralph Woods. The
decoration of these interesting specimens is of a most
beautiful deep green glaze.
The sauceboat (No. vi.) is a clever but dubious
conception, consisting of a fox's head and a swan
combined, the neck of the swan forming the handle,
and the dish anoth'-r swan, with its neck designed as
the handle. It is a striking composition, and examples
exist oi the sa subject decorated in enamel colours.
A pair of flower-holders of dolphin design and a
well-proportioned vase (Xos. vii., viii., and ix.), and
other objects known to collectors, bear testimony to
the fact that the efforts of the Ralph Woods were not
alone confined to the production of figures; indeed,
time may probably prove that not a [\:\v specimens
decorated with coloured glazes, and hitherto attri-
buted to Thomas Whieldon, may in reality have been
their workmanship.
With regard to their models of groups, a proaiinent
place must be accorded to the well-known subject of
"The Vicar and Moses in the Pulpit" (Xo. x.),
certain examples of which bear the name "R.i, Wood.
Burslem," and the mould number 62 clearly impressed
upon the base. Quite probably this clever production
was. as to its design, the work of Aaron Wood,
brother to Ralph Wood, senior, for we have a record
to the effect that though "he never drank wine or
ale, smoked or whistled, vet he was the merriest man
in the country."
Xo doubt both the Vicar and Moses, his clerk, were
i
Pi
No. XXIX
Mo. XXX. i>i
,0,
The George SI oner Collection
0>
£ ^
No. XXXII.— THE
;[•:]■ i'KK
intended to represent actual individuals — hitting ofi
the rollicking parson of the period. One has here,
in the early col. mred glazed examples, with the ex-
quisite throbbing brown manganese upon the pulpit,
a fine instance ot vigorous modelling; an opinion
may be expressed that, as in the case ol all other
marked examples of this group that have come under
the writer's notice, the specimen
in the British Museum might be
described as bearing the name of
" Ra. Wood, Burslem," for the
"a," though not visible, has been
allowed for in spacing the lettering,
and doubtless has beco tie brol n
off the little hand-stamp or die in
course of usage. In the genuine
examples the pulpit is lettered
"THE VICAR
AND MOSES."
The portrait statu :tte of Aid r-
man Beckford (No. xi.) show-, thai
Ralph Wood was an exponent of
ither
han 1
if mo
lelling
tatue
by K
he u
:alth)
n the
aim
ieorg!
III.
,ii ■ nli| :cts. It is, an
in miniature, tal i luildhall
f. Moo pi
author of /a Vathek
The solt i , i upon this
I ,11011 in
a most artistii . :
No'
l.lin (No.
1 in this
Vndi
The Connoisseur
decorated both in the coloured glazes and in enamels,
and the mould number thereof is 43.
The group ol "St.< leorge. and the Dragon" (No. xiii.),
although possibly not quite so satisfactory as to its
modelling in certain details, is a fine piece ol Staf-
fordshire figure-work, rich in colouring and spirited
in design. As in the ease of the.' " Vicar and Moses,"
tins group has been copied and re-copied by later
potters, always gradually losing- its original charm and
merit, until comparison between ,1 modern example
and a genuine early specimen produces an effect oi
absolute dissatisfaction. The mould number ol this
group is 23, and the mark " Ra. Wood, Burslem."
The model of the old man with a crutch and stick
(No. \iv.), mould number 54, is a charming portrayal
of placid decrepitude, lb- has lot a companion an
old woman (mould number 55). She does not
happen to be' in this collection at present. The)'
are an excellently modelled pair, and examples are
marked " R. WOOD." They are known as the
" Old Age " figures.
The mark " R. WOOD" is found upon another pair
of figures of haymakers (Nos. xv. and xvi.). Instances
of these bearing any mould numbers have not yet
been revealed. Their workmanship, however, is ol a
very high order of merit.
Two fine groups of pastoral subjects, "The flute
Player" and "The Bird-cage" (Nos. xvii. and xviii.),
constitute a beautiful pair. These are known bearing
the mark " Ra. Wood, Burslem," and the mould
numbers 88 and 89, and in many res] nets are as
delightful as they would have been had they been
made in the popular paste of Chelsea or Derby, and
are probably more rare. They are, how :ver, entirely
original models, and are characterised b) most refined
colouring. Later examples at'- known of this pan
considerably deteriorated in general effect, and deco-
rated in enamel colours, also in plain uncoloured
1 ram ware.
\ delightful pair ol statuettes are Nos. m\. and
xv, "Shepherdess" and "Shepherd," equally as
h. am, ml a-, -aie li subjects made ,1, the 1 hina fa< tori. s.
and infinitely more difficult of discovery. In the
middle of this pair is shown No. xxi., a charming
rendering of the " Lost Sheep," decorated with a
slight amount of early gilding and with the mould
number 9. This figure is a very attractive example of
careful modelling. The delicate colouring of the
glazes upon these three objects is most remarkable.
This "Lost Sheep" figure is known decorated in
enamels, also in the uncoloured cream ware. A
variant of the same subject is a figure of the shepherd
earning the sheep under his arm, excellently modelled
and in the uncoloured cream ware.
Nos. xxii. and xxiii. represent another pair of
Shepherdess and Shepherd.
A set ol three figures of musicians or troubadours
are worthy of note (Nos. xxiv., xxw, and xxvi.).
Xo. xxv. bears the mould number 7 1, and possibly his
companions may lie found numbered 70 and 72. As,
however, the mould numbers do not appear always
to run consecutively, it is not quite safe to assume
that such is the case.
"(.'upid ridmg upon a Lion " and the companion
"Cupid upon a Lioness'' (Nos. xxvii. and xxviii.) are
a dignified pair of groups with slight early gilding, a
form of decoration found occasionally upon this class
of figures. These are numbered 45 and 46 respec-
tively, and they gain in effect by reason of the
pedestals upon which each is mounted. These
pedestals are a particularly important feature of the
Ralph Wood school, and are generally without glaze
underneath when the object is decorated in coloured
glazes. In this connection Hud ibras (coloured plate),
the elephant (No. xxix.). the seated stag (No. xxx.),
tlie lion (No. xxxi.), mould number 32, the gamekeeper
(No. xxxii.), mould number 36, and Van Tromp
(No. xxxiii.), mould numb 1 37, ma) bi pointed out,
also the setter dog (No. xxxiv.). He is one of a pair,
and has lor companion oni ol lie- old fashioni d pointer
dogs, who also sits upon a dignified pedestal or plinth
with a cushion of tasselled corners, and, let us hope.
some >\.\\ will cone io ibis collection and fulfil his
companionship.
United.)
45/
The Armourers of Italy
Part II.
By Charles ffoulKes
Where the Missaglia.s relied entirely on the
sound construction of their work and the grace ol
line without further ornament, the Negrolis, on the
o t h e r hand,
though ex-
perts in
construc-
tional work,
launched
forth into
elaborate
decoration.
This outburst
of ornament
which marked
the period of
the late Re-
naissance was
partly due to
the e xtra va-
gance and os-
tentation of
the patron,
and partly to
desire of the
craftsman, by
this time per-
fect in his
technique, of
still further
showing off
his skill. As
a natural
NO. X. — ARMOUR OF CHARLES V., short t ]' 111 ■'
MADRID A. I3Q BY THE BROTHERS
negroli, 1539 art
and the so-called decoration, although marvellous in
its minute execution, became meaningless, out of
[FTEENTH CENTURY
place, and therefore without part or lol I
Hi craftsmanship.
At the beginning ol this art i. It- we noticed the
rules that governed the work ol the am
I,., referring t<> the illustrations ol N
see how he broke them one by one, de
utilit) "i the armour, imitatii the human form in
hearing a I
ng an and natui
The Connoisseur
They never went to such extremes as Pfeffenhauser
of Augsburg, or as their compatriot Picinino ; but
they certainly led the way on the downward path
in true craftsmanship. The Negrolis were employed
frequently by Charles V., and also by Philip II. of
Spain, who gave large orders to the Colman family
of Augsburg. So keen was the rivalry between
the two families that we find on a pageant shield
(No. 241, Madrid) 1 )esiderius Colman introduced
the figure of a bull, supposed to typify himself,
goring a Roman soldier, on whose shield is engraved
the word " Negrol." Whatever we may think of
the decorations of the Negrolis and their school,
the misapplication of which must surely, in some
cases at any rate, be admitted, we can have nothing
but unstinted praise for the masterly technique and
the exquisite detail which invariably mark their
work.
Bartolomeo Campi, another maker of enriched
armour, was bom at Pesaro early in the sixteenth
century. He began his career as a craftsman by
engraving metals and goldsmiths' work. Angelucci,
in his Documenti inediti per la storia delle armi da
fmii, 1 italiane, gives extracts from Campi's biography
PARADE BURC.ONET OF
, MADRID BY II'
END OF SIXTEENTH CENTURY
The Connoisseur
written by Pro-
mis. In 1547
C a m p i w a s
court armourer
to Charles V.,
and directed
the fetes at
Pesaro in hon-
our of the mar-
riage of Guido-
baldo II. and
Vittoria Far-
nese. Resides
being an artist
in metal-work,
he was an en-
gineer, and was
retained by the
Republic of
Siena and
Venice. He
directed opera-
t i o n s at the
siege of Calais,
and served
under the Duke
of Alba in
F 1 a n d e r s in
156S. The
Duke wrote of
him in a letter
dated | uncord,
1569: "He is
the best man
I have met with
since 1 have
known men. 1
di : say only
engineers, but
men of any sort
— very steady
and pleasant in
ins work." He N " xvnl decorated suit
..„, , DESIGN ATTRIBUTED TO GIULIO ROMi
was killed by
• hi arquebus shot at the siege of Haarlem on
March 7th, 1575. His masterpiece is a suit of
pseudo-Roman pageant armour in the Madrid col-
lection, made foi < Varies V. of Spam. The 1
a marvellous example ol metal-work, is modelled
on the human torse decorated with Medusa's head
and -olden scro . laliers an modelled
in the form of two lion masks in blackened sled
with golden eyes. The bui lei is light and graci
ful in d teel, with gold
enrichments.
The cuirass
bears the
inscription :
BARTOLOM EVS
CAMP1 AVR1FEX
TOT1VS OPERIS
ARTIFEX QVOD
ANNO INTEGRO
1 N Ii I G I l: A I
PRINCIPIS SV]
NVTVI OBTEM-
PERANS GEMI-
NATO MENSE
PERFECIT. It
is strange that
a m a n w h o
merits the
Duke of Alba's
high esteem as
an engineer,
and who could
produce the
pageant suit at
Madrid, is not
to be found
among the list
of Milanese-
armourers.
Possibly this
list records
only the actual
makers of
a r m o u r, a n d
Campi was but
a decorator,
a n d as sui Ii
not admitted
into the same
gild.
The da mas
c e n i n g of
metals an d
enriching of
armour was also practised by 1'ietro Giovanni
Figino, who seems to hue introduced inlay-work
into the decoration. Benvenuto Cellini, Donatello,
and Pollajuolo also worked as designers ol decorative
armour. To the pencil of Giulio Romano are
ascribed some ol tin oxer-ornate suits, helmets, and
shields of this period. In these we can trace the
painter's hand, for the designs an often entirely
unsuited for hammered metal-work, and represent
battle scenes with such minuteness that the <renenil
■si [■: n All III 1 Mill
The Armourers of Italv
XO. XIX. PARADE SHIELD AND-HELMET. GIVEN TO CHARLES V. BY THE DUKE OF
MANTUA. MADRID BY JACOPO FILIPPO NEGROLI, [533
XO. XX. BADGE OF
THE ARMOURERS'
GILD ON THE CHURCH
OF OR SAN Mil 111:1.1:.
effect is confused and valueless even when viewed
from only a short distance. The suit attributed to
this artist in the Musee d'Artillerie, Paris, is a very
good example of the merits and faults of the decoration
of armour under the late Renaissance. The work-
manship is perfect in technique, and could hardly
be surpassed. But when we come to the design
and its suitability we realise its demerits. There is
no repose or dignity of design and composition, and
the figures mean nothing, but simply serve to show
off the craftsman's dexterity. The very surfaces,
which should be smooth and plain, are overloaded
with projectings, undercut and prominent, which
would retain rather than deflect a weapon. Kven
if we consider this armour as solely for ceremonial
use, we find its convenience impaired by the em-
bossing of the overlapping thigh-pieces and defences
of the upper arm which should slide easily one over
the other, but which, on account of their ornamenta-
tion, must either fail to do this, or, if they do, must
certainly scratch and injure the under-surface. In a
word, it is the design and workmanship of a gold or
silver smith applied to an unsuitable material in such
a way as to impair the utility of the object decorated.
Perhaps the worst offender of the decorative
armourers was Lucio Picinino, 1550-70. Theburgonet
made by him in the Madrid collection (A. 292)
sufficiently shows the style of the whole suit. The
elaborate and intricate work suggests jewel!
not armour; and reference to the burgonet will show
the disregard of those laws of the craft whii h we
have before insisted upon. The leg armoui i
a sure sisjn of the skill of the craftsman, and
suit, although entirely covered with so-called decora-
tion, the grace and symmetry of the work of the
earlier masters is entirely lacking.
But little now remains of records of the important
gilds of the armourers and swordmakers. Their
badges are to be seen on the west and north sides of
the Or San Michele in Flon (.11 a house
in the Spaderia in Venice. In the /<
Lombardo is given the account of an exhibition of
armour arranged by the Milanese Gild ol Armourers
on the occasion of the marriage of I. ode-;
and Beatrice D'Este on Jan. 22, 1491. The whole
length of the Via degli Armorari was lined with a
double row of figures mounted and on foot, so well
arranged as to give the appearance of a regiment on
parade. The gilds were under the protection of three
saints — S. 1
blacksmiths, and S. Paul for the swordsmiths. These
latter kept the festival of their patron bj
procession to the Church of S. Main Beltrade, to
which the attendance of all men
was obligatory under penall L'he Craft
of the Italian armourers still found
development in the manul
firearms and
the tradit:
craftsmanship ol which
industry that it holds il
IV
The Connoisseur
Cambridge College Bookplates
A COLLECTION of
the different colleges of our
is extremely interesting, not
libris, but to those who
ha\ e spent their younger
days in and around the
university towns, and are
familiar with the old col-
leges, and have possibly,
at one time or other,
frequented the libraries
attached to them. The
literar} element was very
.strong at Cambridge in
the old days, and the
c olleges i li e i e are es
penally rich in ancient
MSS. and ponderous
folio volumes, main ol
which contain book-
plates engraved in the
early years of the eight-
eenth century. Some of
the books contain dona-
tive plates, indicating the
source from which they
were derived. One of the p
kind of bookplate is found in
which ( George I. presented
about 30,000 volumes. To
commemorate the gift, the
authorities caused plates
to be engraved by J. Pine.
Thej are remarkable for
ih 11 magnificence and the
peculiai design which had
n fen nee to the gift, and,
On an archllrctur.il base,
showed a portrait medal-
lion of the King, the in
scription on the scroll
reading, " Munificentia
rcgia." The plate, whi h
was dated 1715. although
it was not actualK' en-
graved until 1737, bears
thi arm ol thi Univei
sity on an oval hi Id,
supported b) Minerva and
Apollo ; behind them bein
1 '. tin rising through the
the bookplates used
1 hief seats of learnin
1 collectors of e.
No. I. — CORPUS CHRISTI COLLEGE, CAMBRIDGE
rincipal examples of this of books and MSS. m.n
the University library, to 1575. The oldest plat
By Fred W. Burgess
louds. The University library was founded as earl)
onsisted of about fifty-two volumes;
he building, which was sufficient to hold
the library until 1755,
was erected by Thomas
Scott, Archbishop of
York. The plate in
general use in the library
to-day is a simple
armorial ; but many of
the older books have
Jacobean plates, on all
of which the University
arms figure. Among
the numerous colleges
some have special claim
in consequence of the
literary merits and anti-
quarian value of the
books they contain.
Clare College library
contains Italian and
Spanish plates. The
library of Corpus Christi
< !ollege first became not-
able through the bequest
bj An hbishop Parker in
is .1 cue early Jacobean
armorial, insci ibed " Col-
legium ( Corporis < "hristi
& B. Virginis Mariae in
Universitate Canta-
7'"
"olWium Emmanm
Cantabrigiae. \
No. i. Gonville
and Cams College is a
very old foundation, a
curious old pictoi ial 1 ata-
logue of its .MSS. having
been published in 1849.
The oldest bookplate ,,1
the college, which is also
Jacobean armorial, is
somewhat scarce. The
MSS. a | King's ( ollege
are mostly ( >i iental, chiefly
Persian and Arabii . Per
haps the most interesting
librar) is that of Magda-
I- m . founded bv Pepys,
.ha
numbei
Cambridge College Bookplates
of early English ballads. In this
been no change in the arrangenn nl
years, most of them and
their contents are just as
Pepys left them. The
plates are armorial, with
supporters on a bracket.
The oldest library in
Cambridge is that of Peter-
house, where there are al >< lut
700 volumes dating from
1418. In some of these an
old name label is found.
Queens' College has
30,000 volumes, mostly
modern. The early plate,
dated 1700, in some of
them is anonymous and
rare. The plates of Em-
manuel College are very
singular, the earlier one
being Jacobean, similar in
style to the University
library plate, and was en-
graved about 1700. A
later plate, see No. ii.,
was engraved by Stephens
in 1737, and it is some-
what rare and difficult to
obtain. A donative plate, a
badly engraved Jacobean,
inscribed " Ex dono Rev-
erendius in Christo Patris
Will. Sancr.A.C," is scarce.
The shadedjacobean book-
plate of Christ's College,
shown in No. iii., is of
quite a different type,
similar, however, to the
one of the early plates
used at Eton College. The
older plates of the college
of St. John the Evangelist
are found in two si/es ;
they have also shaded
backgrounds, but the
shield of arms is flanked
by two supporters. There
are some old books in
K-sus College containing
later
odern
plate i- used.
Trinity < !ollege library is
'i a hall built
istopher Wren.
and includes maj
volumes and \i S
peciallydram
Shakespearean
The magnificent plateillus-
trated in No. iv. is pic-
Chi ppendale, and
si phens.
There is a
similar plate not unlike it
in design,
miniature littl : Chippen-
plate found in
DG1
Divinity School was built
-v^ fund, and nov
'\ . Bishop Lightfooi
1
n eluding
N'ewnham for women.
which Was founded in
to its present site in 1873.
wishful to make
their coll
•er ; the
1
s
iSHM
Ol4
BQOfe
French Illustrated BooRs
On the 24th of last April, at the Hotel
Drouot, Paris, the six volumes by M. Bret of Les
CEavres de Moliere, as printed in 1773 par la Com-
pagnie des Libraires Associds, sold by auction for the
extraordinary and indeed unheard of amount — for a
book — of 177,500 francs, or about ,£7,100 of our
money. I cannot commit myself to a franc more or
less when making this quotation, nor is it necessary
to be precise. All that is intended to be conveyed
is that the six volumes in question) realised the
equivalent of about ,£"7,000, the largest amount ever
paid by auction in
France, or indeed in
any other country, for
a single printed work,
no matter how many
volumes may be com-
prised in it. Half a
dozen ( laxtons with the
first four folios of
Shakespeare's Comedies,
Jfistories, and Tragedies
added might cost no
more, and when we come
to consider the very
large and i 111 port ant
library which might be
"erected," as Naudajus
has it, for much less, the
imagination oversteps
the bounds of com-
parative analysis and
seems to revel in figures
which are a law unto
I he prii es
whii h book . reali 1 al
aui tion 01 elsewhere are
m it ni ci ..hi! v indicative
1 il theii intrin: ii
but they are n
importance foi
the time being in this
By J. Herbert Slater
work-a-day world, and for that reason are commonly
quoted as terms or factors capable of disclosing the
actual position of affairs with a more convincing
degree of accuracy than adjectives have it in their
power to express. We may conclude, therefore, that
from a mere monetary standpoint, this particular copy
of the works of Moliere was fortified by very special
circumstances or that it never would have realised the
large sum in question, or any sum at all approaching
it, and this was actually the case. In addition to the
portrait of Moliere, after Mignard, the six neurons on
the titles, by and after
woodcut
pieces,
Moreau, th
head and ta
after Pa pill on and others,
the etcetera, and the
thirty-three plates, it
had — and here is the
point — the whole thirty-
three original drawings
in sepia, by Moreau,
from which these plates
were engraved by Duclos,
De 1 .uinay, Masquelier,
and other masters of the
period. These original
drawings were at one
time in the Soleinne
copy, but M. le Vicomte
Frederic d e J a n z e
acquired them some
forty or fifty years ago
for an amount which
would now be considered
trilling, and having had
them inserted in his
own copy of the work —
the one which recently
sold for the large sum
mentioned — became
■ losely identified with
them in the knowledge
French Illustrated Booki
of everyone who had anything to do with French
illustrated books of the best period of the eighteenth
century, which may be taken to extend from the year
1718 to about 1790.
Collectors of works of this class need a special
training which it would be mere affectation to des-
cribe as anything less than arduous, for acting upon
the perfectly sound principle that early copies are
necessarily more desirable than later ones, the illus-
trations in the former being naturally better, and
therefore more desirable in every way, it becomes
necessary to know how to identify the earliest issues,
and this can only be done by strict attention to
detail, unless, indeed, the general appearance of the
plates themselves is made the criterion of their
excellence, at least to the fullest extent possible, for
to say that it is wholly possible would be to convey
an utterly erroneous impression, different copies of
the very same book often showing many important
variations, for the most part intimately associated
with the " states " of the plates and their number, no
less than with their quality. In this article I propose
to mention a few of the more important French
illustrated works of the eighteenth century, and to
point out their chief peculiarities. It will then be
seen that the scope of the collector is of immense
extent, and that he might, had he the time, money.
and opportunity, fill the walls of a library with
hundreds of volumes belonging to the special class
of which I have spoken, many of them being at the
first glance mere duplicates, but all substantially
different notwithstanding. Should he seek to confine
himself to the very best and most complete copy of
each particular work, rejecting all others which do
not attain to the standard of excellence he has set
up, this would be a different matter ; but in practice
he would find that he would not be able to do this,
except by the extremely dangerous process of taking
to pieces several examples of the same work and
making one glorified copy of such portions of them
as he decided to retain.
I will first take the works of Moliere, by M. Bret,
in six volumes, Svo, 1773, previously mentioned.
This is a fine edition, remarkable for the beauty of
its type and illustrations. It must be observed that
two of the plates, " L'Avare " and " Le Misanthrope,"
are almost always of inferior quality, though they do
exist as good impressions, and should, of course, be
procured in that state if possible. Copies which
do not contain the starred or double leaves LXVI.-
LXVII. and I. XXX. -I. XXXI. in the first vo
inferior. All the plates, the portrait, and the fleurons
should be in proof state without text, and
containing them in this state should be b
ts he was the first to seek for
and bind these proof copies. There are el< h
all these plates, but only two or three full series are
known. The plate called " Le Sicilien,
Moreau himself, after his own design, should have
his signature as distinct as possible. The accom-
panying illustration gives a repnn
Moreau being seen at his easel. Finally, CO]
this work, as ol all others, should be "uncut," that
is to say, not cut down by the binder, and they
should be in old French morocco by such craftsmen
as Bozerian, before named, or, failing him. (ape 01
Derome. It will be seen from this recital that to
obtain an ideal set of the six volumes satisfying all
these requirements, for only two or three sets are
known, would be rather more than merely difficult.
Another and even finer illustrated edition of Moliere
appeared at Paris in 1734, and this also is in six
volumes, though they are royal .ito in size. Boucher,
who was a pupil of Watteau, designed thirty-three
elegant plates for this work, and there are in additii in a
portrait of Moliere, by Lepicie, after Coy pel, a fleuron
on each title, and 198 head and tail pi
Boucher and others. Mdme. de Pompadour had a
set of these volumes on large hutch
was the fashion to relate, but it is doubtful, to sad-
dle least, whether any such . printed, and,
moreover, hers, which is still in existeni
to be of the ordinary size in these more
of rule of thumb. The collector who places his
affections upon this edition of Moliere has need of
patience, for there are two distinct issues of it, the
first and best having the word' " comte
"comtesse") in volume . line 12.
Furthermore, in the fourth volume there should be
illustrated leaves forming pa
(which are consequently in duplicate) containing
head-pieces and a different ornamental initial. Then,
again, according to Mr. Lewine, in volume i. in
L'Etourdi, page 8 should contain twenty-nine lines
of text, while in the second issui
have been carried ti
ind as un-
finished proof etchings, and also as finished proots.
As in all ti
■■ ideal," no mail. I
an old Freni h mi
is called his "ma
The Connoisseur
L 'AMOUR MKDECIN.
an example of the complications which may arise
,vhi n l n ni h illu it rati 'I books of the fashionable
I extrai t a desi ription ol this
■ from .1 rei ent sale i atalogue.
o volum rcali ifling sum
tsted with \\ rabeau's copj in old red
ced some few al j, i francs,
and doubtli - "i greatei value now. The description
as drawn bj an experienced cataloguer is as follows:
■■ i ] ivres, the series ol portraits" (some must have
been added, for only one portrait was engraved for
the work), " and thirty-three plates from the designs
by Boucher, spei ial cop) on grand papier de Hol-
lands (?) with the portrait " {i.e , the portrait ol
French Illustrated Books
Moliere after Coypel), "and seven of the
artist's proof before all letters, without the designer's
and engraver's names, 6 vols, in the old wrappers,
Paris, 1734, 4to. The plates as 'Epreuves d'artiste
avant toute lettre' are 'Le Misanthrope,' 'Le E
ou l'amour Peintre,' 'Le De"pit Amoureux,' ' Les
Pre"cieuses Ridicules,' ' Le Medecin Malgre lui,'
' L'Etourdi,' and ' Les Fourberies de Scapin,' the
last one bearing the signature ' Chedel, A. J.'
Contemporary manuscript
descriptions added. The
' Prologue d'Amphitryon
has been substituted by the
plate bearing the inscrip-
tion, 'Personam Capili
detrahat i lie tuo, Mart,
with C. Natoire delineavil .
L. Cars, sculp.' " The de-
scription is lengthy, as will
be seen, yet it was necessary
even in this simple case.
Scores of French illus-
trated books of the best
period of the eighteenth
century might be critically
analysed at length in the
same minute way, and in
each case it would be
found that the plates are
met with in a variety of
''states," or that some
copies of the same book
contain one or more extra
plates, or plates w hi c h
were prepared only to be
rejected as not coming up
to the standard of excel-
lence which the editors con-
sidered indispensable. The
celebrated Fermiers-( leneraux edition of the Conies et
Nouvelles en vers of La Fontaine, published in two post
Svo vols., 1762, affords an excellent and well-known
instance of a variety of eccentricities occurring in one
and the same work. All the eight) plates in tins
edition are after the designs of Eisen, and six ol th m
are to be had " decouveites," the best known being
Le Cas de Conscience and Le Diable de Papefiguiire.
These two are often met with, but not so the remain-
ing four known as Les Lunettes, Le /•'<//, Le A
and Richard Minutolo. These are very seldom seen,
Le Bat especially, and it is quite an exception;
rence to find all the six decouverte plates repn
Then again, there are twenty-live other plates, usuall)
of smaller size, which were rejected by tli
d'Amateurs as being eithi ficiently
, and an ideal copy of the work
should have these bound up in their propi
It is not necessary to enlarge upon the titles
rejected plates, though it may just be mentioned that
one of them, Le Faucon, seems to have been
looked — assuming it was really prepared foi
edition — by several of the authorities who make I
illustrated books their special study. I
course, an exceptionally
gifted artist, and the plates
in these two volumes
elevate them to a level of
' ellencc whirli
has seldom or n
n I
an) worl <> a imilar kind.
;ood idea of the
artist's style « i
tained from the 1
Le Gast on, ,\ n pi
of which is given, its
effective simplicity and
refinement being distinctly
characteristic of the man
and his art. The touch of
Eisen is seen again in
man) othi 1 works ol the
peril "I. 1 le, with ( iravelot
and others, illusti
nerone of
1 - 5 7 , in
work which, though valued
for itseli al
with much greal
when it contain '
plates on fine paper known
iTv™s N " ! vols t-6 as the Estampes Galantts.
this edition, one in Italian and the othei in French,
and both were published in the
volumes and at the same time and place.
On,- of the earliest ol the Fn iv b ill isti
of the kind nunc particularly undi
Amours Pastorales de Daphnis et <
facques Amyot from the >
printed in 1718,
main
The Connoisseur
as many extra plates as possible ; to procure, in
fact, a copy which contains more than most others.
Considered on general principles, this would be an
excellent rule to follow, but there are exceptions to it,
and one of them is intimately associated with this
edition of Les Amours Pastorales. So far as the
edition of 17 iS is concerned, the presence of the extra
plate of the Petits Pieds
is by no means an un-
mixed blessing, for more
often than not it is
found in the later issues,
and for this reason the
practice has grown up of
describing a choice copy
of the work in some
such terms as " one of
the very earliest issues
before the plate of the
Petits Pieds, by Caylus,
was added." This plate
may certainly be found
in even a very early
issue of the book, but
in that case it will
necessarily have been
inserted at a later period,
just as any other extra
plate may be, and often
is, added to complete
or, let us say, to render
even more noteworthy
any illustrated book
upon which consider-
able store is set. The
accompanying illustra-
tion, entitled Vope, r( sic)
de Daphnis et de Chloi,
disclosing a primitive
and partly open hall
festooned with garlands,
the revellers reclining in Roman fashion, gives a very
he artistic style of Philippe d'Orleans,
[i ing the minority of Louis XV.,
and an amateur artist ol very considerable ability.
As Les Am wrs Pastorales is one of the earliest of
the French illustrated books which comes within the
hi artii !<-. 1 have tl ghl it advi :able to
mention it al length, though the date of its publica-
oincide with the best period. Such
a work as Man Contes Iforaux, published in
1 76 iretty plates after
Gravelot, by such engravers as Baquoy, de 1
almost as well known, i . in"!
1 1
I |.s IM M llHH i \ 11 I
typical of the period of which I have spoken, though
perhaps it is not of the same importance. An illus-
tration taken from this — " Le Philosophe soi disant "
— by de Longueil, discloses a very different style,
though it falls into its place naturally with the rest,
as do the designs of Cochin, Fragonard, and many
more, not forgetting those of the Marquise de Pompa-
._ , dour, an artist who, like
Philippe d'Orleans,
contributed not a little
as an amateur to the
artistic activity of the
age.
Needless to say, it
would not be possible to
critically analyse many
of these French illus-
trated books within the
compass of a short
article, nor, even were
it possible, would it be-
altogether satisfactory to
do so, as the subject
generally is of great
complexity, and needs to
be handled in a practical
and matter-of-fact way,
with every little detail
and point of difference
set down for the benefit
of those collectors who
make a study of books
of the kind. They have
their text-books, such.
for example, as Cohen's
Guide de I'A ma ten r
de Livres a Gravities
du XVI IP Siicle, a
fifth edition of which
appeared in 1886, and
iORAUX," 3 vols., 8vo, 1765 M] . Lewine's excellent
Bibliography of Eighteenth Century Art and Illus-
trated Hooks, published in London in 189S. In the
margins of these they will often add the discoveries
which are continuall) being made; for these French
illustrated works have no finality, nor is it certain,
however improbable it may he, that the best known
copy of any one of them may not at any moment
be supplanted by a belter.
There 1 an be Utile doubt that collectors who have
1 natural appreciation, >•<> u> speak, ol finely illu itrati d
works of the particular kind under discussion are, as
a .las-., deterred from having much to do with them
on account of what they conceive to be then great
French Illustrated Books
Nopccs de Daplims ct de Chloc
FROM LOXGl'S
\ \V " KS ['ASTORAt
cost, for the belief that such books are exceedingly
expensive to buy has become so widely disseminated
as to have passed almost into a proverb. It is
true that the sums occasionally paid for particular
copies of these books are arbitrary and fanciful, but
large amounts should be quoted not as though they
were of universal application, but rather as being
highly exceptional for all the following reasons in
combination, or on account of any one or more of
them. A book of the kind, even though not of great
importance in itself, may become so, (a) if it is
bound in contemporary, or at any rate old French
morocco, and is in a good state of preservation, and
this is accentuated (b) if it is bound by a celebrated
craftsman : (c) if the book has at one time belonged
to some historic or highly esteemed collector, and
this is also accentuated (d) if it has his arms or some
other distinguishing device on the covers ; (e) if il
contain added plates, often consisting of proof
etchings, these representing an evolutionary stage in
the preparation of the plates ; (/) if the plates,
vignettes, and other embellishments are in unlettered
proof state or in some " state " out of the ordinary :
(g) if the book contain starred or additii
found only in a few copies ; (h) if it
paper or on paper or other material of an unusual
kind, as, for instance, vellum, Dutch paper, vellum
paper, and so forth : (i) if then- arc bound up all or
any of the original drawings from which the plates
were engraved. Even if but one .
happens to be present, it will add mati I
importance and consequent value of any French illus-
trated book of the eighteenth century ; and when the
book happens to be of meat interest in its
or the majority of these fa< tors it is readily
conceivable that there is hardly any limit lo the
fanciful price which may be obtained foi it. The
point is that the vast majority of these illustrated
■
not essentially valuable, but that they may
in individual cases by reason of the labour or care
which has been lavished upon them in the ;
they ma;
The Connoisseur
Notes and Queries
[The Editor invites the assistance of readers of
The Connoisseur Magazine who may be able to
impart the information required by Correspondents.]
Unidentified Portrait.
Dl \i: SIR, — Would you kindly insert in THE CON-
NOISSEUR MAGAZINE a reproduction of the enclosed
photo., with a view to
ascertain the subject
and artist, if possible ?
The picture is supposed
to represent one of the
wives of Henry VIII.,
King of England, and
to be painted by
Holbein. The size is
about 10 in. high by
Thankfully yours,
H. GOUJON.
Unidentified
Portrait Gri h p,
Dear Sir, — I should
be glad if you would
insert the painting of
a family group in The
Connoisseur Maga-
zine, with a view to
ascertaining the artist
a rid family. 1 a 1 so
wish to know who the
artist was who used the
initials I. S. V., 1S55.
Yours faithfully,
e. s. i i nnings.
Book on
An PIQUE
rOBACi 1
in vk Sir,
1 should be
ateful if
iuld tell
me the name of
printed matter,
about antique
tobacco pipes
of all kinds,
in. in bowls m
1 In 11 .1 . carved
<>r other kinds.
Also of any collection of pipes that could be s
(such as the Wallace). I should like to know wl
such a book could be either bought, or seen, if ii
library.
Yours truly, A. MALCOLM Bodki>
Australian Picture.
a dim recollection of a picture called
Australia's First
Contribution to English
Literature. Would you
kindly tell me whether
such a picture has been
hung in any London
Art Gallery during the
last three or four
years ? My enquiries
in Australia have failed
to elicit any clear or
satisfactory answer.
Yours, etc.,
Book on Road
Waggons, etc.
Dear Sir,— Can you
tell a subscriber from
the first of any work
containing illustrations
of road waggons,
carriers' coaches, or
stage coaches to Lon-
don in use from, say,
1S00 to 1850? Your
kind reply will be
esteemed.
Yours truly,
(,l orge
Lansdown.
Dear Sir,—
Thesword illus-
trat e d in the
S e p t e m ber
N u m b e r of
I'm. CONN01S
seur Maga-
zine is about
1649, and may
be described
as .1 mortuary
sw r d , a n d
quite .1 1
example.
^ ours very
Duly,
I'lin IP \i
SON, M.l'.
MARIE LECZINSI
BY J. M. NATTIER
At Versailles
;a, QUEEN OF
Milt
his Catalogue Raisonne, re-
produced without acknowledgmenl
lustration to
The very fine portrait of Lady Hamilton reprodui i d
in The Connoisseur Magazine for February, 1909,
was, as Mr. Roberts has pointed
A Note on the
Portrait of Lady
Hamilton, by
Romney, recently by Stothard
reproduced in the sixth
"The Connois- an( j su b-
seur Magazine"
B sequent
editions of Hay ley's
Tri 11 m phs of Te mp e r
(178S). Serena in the Boat
of Apathy forms a singular
contrast to the heroine .is
she appears in the fronds-,
piece, nor is it surprising
when we find that this
frontispiece is a repro-
duction (again without
acknowledgment) of Rom-
ney's portrait of Miss
Honora Sneyd, well known
from the smaller version
in the South Kensington
Museum, and the mezzo-
tint of 77 Lady Reading,
by J. R. Smith. Such
details did not trouble
Stothard, but the) open
up a field ol curious en-
quiry .is r o Romney's
various portraits ol' ll.11
ley's heroine. We learn
from the ( 'atalogue Rai-
sonne that " Romney
painted four pictures of
Serena, three representing
her reading by candlelight
in different attitudes, and
the fourth in the Boat
of Apathy 1 f. Rev. J. Roniro y's Memoirs of his
Father, p. 180). All the portraits of Serena I
were studies of Miss Sneyd.
Miss Seward, in a letter dated Nov. 25th, 171;-',
and quoted D) Mi. Rol iteOlls
print of Romney's Serena, which is exactly ak
■ II'''
at sixti en." ■ ■■
cannot 11;
s Serena at the
since the poem did not
appear t 1
\
Life of Romney 1 p. 94)
that the series of drawings
for the Triumphs o/
'
. within
two or tic
of the pii
S
The Connoisseur
when she was sixteen — and adapted at the instance
of Hayley for the Triumphs of Temper. Miss
Seward's "beauteous print," with its "entire and
perfect resemblance" to Hi mora Sneyd, was, it may
be conjectured, the well-known mezzotint by J. R.
Smith, after Romney, already mentioned, dated
Sept. 28th, 1782.
Three of the four pictures of Miss Sneyd above
referred to were ex-
hibited at the Grafton _:
(lallery in 1000 ; the
fourth belongs to the
Duke of Sutherland.
( Ca talogue Raiso n n e ,
pp. 46-7.)
Now, Romney painted
Emma Hart thirteen
times in 1782, and was
constantly at Eartham
with Hayley, so that we
cannot be sure when he
painted her as Serena.
In a letter elated August,
1786, he writes : "The
Bacanalian picture is in
statu quo, also the Serena
and the Cibele, and the
Medea," on which Mr.
Roberts notes, "nothing
more is k no wn of the
last three pictures, which
were probably among
those that perished (or
were stolen) at I [amp-
stead. It is interesting
to find tli.it Emma Hart,
as well as I lonora Sneyd,
sal foi Serena Hayley's
heroim Mr, Roberts
further notes what we
SERENA IN THE
li.c .lie ,nK pointed out,
thai Hi' 10 ail ol Miss Sneyd as The Lady
Reading was copied bj Stothard and engraved by
Sharp, and four tin engraved frontispiece to the
si\ih edition ol the Triumph of Temper; In- aj
ami (it the third oi the series Serena in the
Apathy — which, as w< have ;een, is a
ol 1 11!' Hamilton, Have w nut here .1
key to the Serena which Mr. Roberts believes to be
d is not tin- picture reproduced in Tin 1 !on-
work to which Romney
his I iii 1 11, 1 ; 86, win 11 1:, wa 1 on itantl)
in familial intercourse
m I DAILE.
Old Italian
Jewellery
l.*Un. nM.//,.,/ 4/ftfyi,
■ fe
Minting In
. ith his pati Hay]
It is likely that the wearing of jewelled ornaments
was suggested by the custom of decorating the head
with flowers in token of joy or triumph,
certainly the finest examples of the
early Italian goldsmiths' art suggest
many floral forms. Raised petal-like plates with vein-
ing of plain and rope-patterned wire, bosses of pearls
resembling the calyx, pendants of threaded pearls
like tassels of a bluebell,
'■'•«',-. and bunches of grapes
■" |@ - 1 s : ■-- >'i- "Up gj made of pearls varying
^^^^jbh| m si/e threaded on gold
wire — all such devices
serve to bring before our
eyes nature's patterns
which served as inspira-
tion to the native worker.
It is interesting to note
that though the peasant
jewellery of Southern
Europe varies slightly in
the different districts and
townships, yet the type
peculiar toihe neighbour-
hood continues with such
persistence that in some
parts of Umbria there are
workers who up to the
present day are working
at the same patterns, and
producing them in a simi-
lar manner, as the jewel-
led ornaments wrought
by the ancient Etruscans.
The Adriatic jewels, in
which pearl stringing on
line gold wire forms so
important a part, are cha-
racterised by the most
ok u-ATiiY delicate workmanship.
( 'luster pearls are found
on nearly all Renaissance jewels. In two instances
only amongst the examples illustrated there are
coloured stones used, a small garnet marking what
would be the heart of the flower. The earring is
of pun- gold. The openwork plaques to which the
long thin wire hook is fastened are decorated with
soldered wires, with some plain and some rope design.
enclosing compartments in varied and beautiful
shapes, some ol these are "pen, others arc filled with
gold and may have been enriched with coloured
enamels when the jewel was made in the sixteenth
century : two small bunches of pendant pearls hang
from the sides, and from a gold hook at the back
Notes
hangs a t a s s e 1 -
like pendant i in.
in length, whose
intricate orna-
ment is clearly
seen in the illus-
tration, No. ii.
A similar pend-
ant centrepiece,
with two galleries
of threaded pearls,
is seen in illustra-
tion No. i., and
has also probably
once been orna-
mented w i t h
coloured enamels.
This superb pair
is also of late six-
teenth century
work. It measures
z\ in. from the top OLD "alian jewellery (ir.)
of the wire to the pendent pearls, and is undoubtedly
of Venetian workmanship, as only the most skilful
artificers could have accomplished such line work.
Though several of these specimens are large they
can be worn in the ears without the slightest incon-
venience, as they are so well balanced that the) do
not feel heavy ; the long hook of fine wire also renders
them very safe, an important detail on account ol
their great value.
Somewhat different in pattern, but essentially Italian
in feeling, are the examples No. iii. and No. iv. ; these
measure z\ in. and 2 in. respectively. Much larger
EXAMPLES IV. VI.
pearls are used, bul the primitive method of attaching
them by piercing and thi Aire, rather
than b) i la -.
'I he charai I iristii i i i nt-shaped top in the tilth
example has very I en p ■ idants. It
is noticeable that tins earring is worn as a ship sails,
ii only the
foremost pendant is shown, ornament is
viewed from the side. The wire for passing through
the pierced hole in the flesh is secured by means of
spi ing.
The stud
ample
is a( much redder gold
than those
above, the inner row
the outer i
ins, which
is a green
It will b
found in in
tinent, and
d up by the
i ; '
t!
The Connoisseur
other valuables at Messina dur-
ing the earthquake. Those who
have opportunities will do well
to acquire fine rally examples
of undoubted authenticity. —
E. N. J.
We reproduce in this issue a
portrait which will be of very
great interest to
^P 01 "" our readers, and
at St. Helena .
especially to
those who have appreciated
Mr. Baily's book upon this
fascinating figure of history,
containing reproductions of a
number of portraits, engravings,
miniatures, etc., never before
given to the public of this ex-
traordinary man. Nothing more
forcibly illustrates the widely
differing impressions made by " th
upon the artistic world of his day.
The portrait in this number is taken from a small
photograph of an engraving of a picture by a French
artist, painted towards the end of the Emperor's life,
when the confinement in his island prison had told
greatly upon him. He is shown sitting upon a seat
overlooking the sea, with the background appro-
priate to the country, gazing out over the waters with
the expression of a doomed man, but with the still
NAPOLEON AT
ittle Corporal "
ineffaceable mien of the caged
lion. He is dressed in a linen
suit with wide-brimmed straw
hat, and but for the look upon
his face — which at once be-
tokens no ordinary man — might
be some prosperous planter
taking his ease in the beautiful
surroundingsof his island home.
The once dapper Corsican has
become very stout in his
declining days, a fact which
shows graphically the enervat-
ing effect of the conditions of
his life, coupled with the relax-
ing character of the climate of
St. Helena.
The photo was kindly lent
RSBHHHnHH by Mr. Castle Smith, of 27,
Netherhall Gardens, whose
lather came across it in the
island when on a visit to Capetown about thirty years
ago. Nothing was known of the name of the artist,
but it was said to have been painted in the island.
On the extreme left and right a very fine pair of Bow
figures, with fruit and flowers, on scroll bases. In the
centre a very rare Bow group of a harlequin
and lady embowered on scroll plinth, and
on either side of same a pair of Bow groups as candle-
sticks, en suite, rich foliage, and figures of children.
Bow Chi
Notes
One of th
I have been interested in the various article;
ing in The Connoisseur Magazine on Old I
W ine-Glasses, as I ;
Wine Guises w ' 1 ' ,il nas Deen undisturbed for the
last ioo years, to which a few glasses
have been added from time to ti
numbered i
was sent to Mr.
Albert Harts-
home in 1889,
when he was
engaged in
writing his
book on old
English wine-
glasses, and is
there illustrated
(Fig. 3 5 9).
about which he
says : "Another
air-stemmed
glass, also in
Mr. Way's
possession, lias
the rose and
two buds, fiat, and the oak-leaf on the bowl, and the
Prince of Wales' Feathers on the foot. This is a cycle
glass of about 1740." And in a letter on the same
subject he says : " But what the origin of putting fiat
on glasses was I have not yet found out. 1 know of
about thirty examples in different parts of the country.
It is said, and this has not been contradicted, that fiat
glasses were those of a Jacobite club in the North of
No.
-GLASSES.
England. [ despaii of getting at the- truth of
M
of beautiful glasses, and many with n
ises."
The glass 5 No
and a butterfly. No. 3 ai
with gi
No. -1
are .1
right gl
engraved with
No. 5
fluted
No
... : . and 8
autifully
cut glasses
onged
Right
Hon Frances,
Countess of
Northampton,
wife of the sixth Earl of Northampton. V
a pair with platinum rims. No. 9 is one of a set of
three glasses \\ ith ruby and white 1 '
as also are Nos. 20 and 21. No. 20 is en
th Hanoverian rose and butterfly. No. 12 is one
ol a set of eight glasses. No. 16 is a very beautiful
dimpled bowl and ruby, yellow, and white
twists in the stem. Hi rbi im W.,L. \\ w.
SATED WITH STLART EMBLEMS
No. II. — EIGHTEENTH CENTU
fc^4
D
6
2 £
a h
« x
3 °
2
S o
;-' <
< s
< O
O b
o *
6 £
ISp?^ 1 "r
Notes
It has always been gener-
ally known to collectors and
connois-
A Remark-
able Historic
Dinner
Service
;eurs that
the cele-
b r a t e d
Wedgwood
service made for the Em-
press Catherine II. ot
Russia was exhibited in
1774 in Greek Street, Soho,
where it set the town agog
with amazement. The
rooms were thronged with
fashionable people, and this
splendid patronage, in con-
junction with that of Queen
Charlotte, who in 1765
authorised Jo si ah Wedg-
wood to style himselt
"Potter to Her Majesty,"
established the Queen's
ware permanently as the
standard body of English
earthenware.
Each view in this cele-
brated service was of some
family seat or place of
interest in the United King- medallion, cath
dom as they existed in 1774. white and da
This Imperial Russian
dinner-service is the most famous English service known.
With painted views of ruined castles, abbeys, parks,
bridges, and towers of a hundred and fifty years ago, it
is, apart from its ceramic interest, notable from a topo-
graphical point of view. Every single piece, and there
are eight hundred of them, has a different view. The
body is of a pale
brimstone colour,
and the view is
painted in a rich
mulberry purple.
The border has a
wreath of mauve
flowers and green
leaves. As the
service was in-
tended to be used
at the palace of
La Grenoitilliere
— m e a n i n g a
marshy place full
of frogs — which
now forms part of
the palace of
Tzarkoee Selo,
near St. Peters-
burg, each piece
bears a green frog
within a shield on
the rim. It ».i
that a child and
a frog were to be painted
on each piece, but this was
altered to the present frog
dinner-sei
Messalina of the North
n g 1 a n d,
there ha-, bcrn . onsiderable
mystery. It was believed to
have vani shed.
it could be found. Russian
archives were searched in
vain by ceramic students.
A few stray pieces existed
in this country, five
the possession of the Wedg
wood family, and two at the
Victoria and Albeit Mus-
eum, and one at t :
M u seum. Th 1 i
has now bei
It is one of the event- ol
the year of especial interest
to collectors, that by the
enterprise of Messrs. Josiah
Wed" wood & Sons a large
E II. OF RUSSIA . , , .
reen jasper portion of this service is to
be exhibited to the public
n London this month. It is happy to know that the
greater portion of it is still in existence, and whole. There
s no doubt that it will attract considerable at:
hat those who are unaware of the old-world bean-
ie-, appert ing to this distinctly English 1
vill find the exhibition of more th.vn ordinary interest ;
noissc
know the
wa 1 e, and are
familiar with the
only km ■
ntry, will
the op-
portunity
senttothi
:
:•
The Connoisseur
Messrs. George Bell & Sons
simultaneously
■ith the
of
before-mentioned service
The Story
of the
Find
chibiti.
publishing a
volume, The
Imperial
Russian Din-
ner Service, A Story of a
him, 'us Work by Josiah
Wedgix ■nod, by Dr. George
C. Williamson, whose in-
defatigable energy and
painstaking researches in
the matter led to the
service being unearthed
at St. Petersburg. The
volume will be illustrated
by photographs taken
specially in Russia by the
Emperor's own photo-
grapher. This in itself
is of especial interest, as
none of these eighteenth -
century pieces have ever
faced the camera before.
The volume records
documents never before
printed, and it gives a
complete catalogue of the service, of which only one list
is known to be in existence. Chaffers, it will be noted,
chronicles the service as consisting of 1,244 painted
\iews, 11. akin- up 952 pieces for dinner and dessert.
Dr. Williamson brings the latest evidence on the subject,
and records only 800 as now in existence. It is from
this fact alone evident that existing
ceramic authorities must be corrected
up to date. Early writers were often
very hazj in then facts. Chaffers
evidently had never seen a specimen
of the service, as he states that "a
green frog was painted underneath
each piece."
The inception of the volume was due
to the author's search for early prints
oi Hampstead, some twenty -seven of which
ing to William Hewitt's Northern Heights of London
'86g ,10 be ml .1 . 11 enes on this Catherine II. service.
The difficulties of research in St. Petersburg and the
eventual sui 1 ess are graphically told by Dr. Williamson.
The pei :onal inti - I of Their Imperial Majesties the
Czar and Czarina of Russia were sought and most
' m ind Mr. 1'. II. Wedgwood, a lineal
descendant of tin great fo iah, travelled to Russia to
receive the piei es lent tor exhibition in London.
littli doubl that in the highest Russian circles
considerabli it erest is now shown in regard to this old
Wedgwood service. Count Paul de BenckendorfF, the
1 Irand Ma ;tei of th 1 -mi. 1,,, , warmly interested him
self in thehistoix of tli ieedil removed
from its hiding pla< e up 1 1 plai e of honour
In view Of the recent
re. aci o
visit of the Czar to this country, and the strengthening of
diplomatic relations between the Court of St. James and
that of His Imperial
Majesty, this eighteenth
century ceramic link be-
tween England and Russia
is of exceptional interest.
AMONG a large collection
of South Africa curios in
,, D . . , , the pos-
Van Riebeck's .
~ . session
Cha ' r C AT '
of Miss
Morison-White, of Brigh-
ton, is an old Dutch chair
in a remarkable state of
preservation in spite of its
two hundred and fifty odd
years. The chair originally
belonged to Van Riebeck,
the first Dutch Governor
of the Cape of Good Hope,
and was used by him as
far back as 1650. Itstands
thirty-one inches high, is
sixty-eight inches round,
i s chair • °
and seventeen-and-a-half
inches from the cane-bottomed seat to the ground. It is
made of African wood, very strong and heavy for a chair
of its kind. The chair itself gives one a good idea of the
old Dutch toppers, and from the figures given above it
can be gathered that these old Dutchmen must have
been broad and sturdy men with somewhat short legs.
The heavy band round the middle
of the chair legs is placed there as
an additional support, and quite a
common thing to be seen round
most Dutch chairs, (ireat interest
has been taken in this most remark-
able piece of furniture. The late
Mr. Cecil Rhodes, who possessed a
, huge collection of the Van Riebeck
curios, was very anxious to purchase
the 1 ban, but Alms Morison- White always felt she could
not part with this relic, and to-day it adorns one of the
many artistic and elegant rooms in her house at Brighton.
Messrs. A. Fraser .\ ( ""., Inverness, sold at the
beginning of 1 tctober the important collection of antique
furniture and curios formed by the late
The Leslie yu _ ^^^ ]cs] - c Fraser The collection
im liuled many authentic Jacobite relics
and Highland curios, for which high
prices were realised. Among the more notable items
wen. 1 rare Highland Targe of the seventeenth century,
,£152; a lock of hair of Maiy Queen of Scots, ,£26; a
small piece ol in wood which foi med part of the staff of
Prince Charles Edward's standard in 1745, ,£25 10s. ; the
original pair of colours of the Fraser Fencibles, ,£155;
and an exceptionally line Highland steel pistol, ,£60.
Collect!*
Notes
The furniture, of which there was an extensive collec-
tion, included Queen Charlotte's spinning-wheel, ;£l8 ;
an "Act of Parliament" clock, ,£28; and a Sheraton
bureau, £l~ ; whilst amongst the Sheffield plate must
be noticed a snuffer-tray and pair of snuffers, which made
,£42 ; and a tine pair of candelabra, lyre-shaped, with
two scroll branches, for which .£46 was given.
POLYCHROME MAJOLICA RELIEF
The tine majolica polychrome relief Pieta from the
Robbia workshop illustrated is from the collection of
Baron Adalb. von Lanna, Prague, which
is to be dispersed in Berlin during
November. It measures 130 centimetres
n height and 73 centimetres in width, and is encased
n a handsomely carved wood frame.
Majoli
Relief
record oi Bristol that have since had to
make way for the march of progress. The progress
chronicled in this beautiful volume coincides with the era
of daily journalism in Bristol. With die establishn ent
of the Western Daily Press in 1857 began that open-eyed
and advancing pi 1 is given
to the city a Clifton College, a Merchant Venturers'
Technical College, a Colston School for Girls, Girls' High
Schools, a widespread system ol Council Schools, and
now, to crown all, a University. Within
the Cathedral has been completed, the spue of St. Mary
Redcliffe (" the finest parish church in 1
been built ; the principal city bridges ha\e been widened
and new ones built ; the Clifton Suspension P.i:
been erected ; railways have been made on each side of
the Avon, docks have been constructed .it Avonmouth,
and the streets have been revolutionised. The acreage
of the city has increased from 7,000 to 17,000, and
improved sanitation has lowered the death-rate from
twenty-four per thousand per annum to about fifteen.
Many of the citizens to whose forethought and 1
these and other improvements are largely due have
passed from the scene of their labours ; but the torch
of enterprise has been handed to equally progressive
successors, and the Western Daily Press and its journal-
istic co-workers are as active and zealous as ever in
keeping the brave old city of the Middle Ages in the
van of modern advancement.
The frontispiece to the present numbei 1- a repro-
duction of the magnificent portrait of the tail but frail
Count, 1
Our Plates ^ m (h( . possession | Ea rl Spencer,
K.G. This beautiful, though notorious < reature, the wife
of a Mr. Palmer, became the Countess ol Castlemaine
upon the raising ol her husband
Charles II., whose mistress many years
she was intimate with His Maji broken
for a short period b< h llu '' ''"'
marriage of King ( harl<
In fact, so infatuated was her Royal lover that he
upon the Queen giving In- favoui ite the honoured position
of Lady of the Bedchamber, and openlj n<
flouted his Royal spouse lor this beautiful .uUentu.es..
Two of the many fine portraits at Vei
included in this numbi ■' " Valliire,
by lean Nocret, and the otln 1 Nattiei
The colon, plate on tin
Henry Bone', enamel ol I '»e famous
Francis Lemuel
Bristol : as il Was, and as il Is, is the title ot a most
interesting history of the great western port during tin-
last fifty years. The articles which form
the backbone of the text were written by
Mr. Stone, and appeared first in tin
columns of the Bristol Evening News. They derive
additional interest from the profuse pen and ink 1
trations of Mr. Loxton, who seems to have kept a t
History of
Bristol
Books Received
rard S. Davies, 12s.
-
ORRESPONDENC
:-:"*.
Special Notice
Enquiries should be made upon the coupon
which will be found in the advertisement pages. While,
owing to our enormous correspondence and the fact
that every number of The Connoisseur Magazine
is printed a month in advance, it is impossible for us
to guarantee in every case a prompt reply in these
columns, an immediate reply will be sent by post to
all readers who desire it, upon payment of a nominal
fee. Expert opinions and valuations can be supplied
when objects are sent to our offices for inspection,
and, where necessary, arrangements can be made for
an expert to examine single objects and collections
in the country, and give advice, the fee in all cases
to be arranged beforehand. Objects sent to us may
be insured whilst they are in our possession, at a
moderate cost. All communications and goods should
be addressed to the " Manager of Enquiry Dept.,
The Connoisseur Magazine, 95, Temple Chambers,
Temple Avenue, E.C."
ANSWERS TO CORRESPONDENTS
Boo/Vs.— Facsimile Copy of Magna Carta. -A1.S7S
Bowdler's " Family Shakespeare," 10 vols., 2nd
edit., 1820. Ai,sS(i(l:nllyn,„., t .y). The ten volumes of this
work would nol fetch more than -say 5s. Youi nine odd
'."l'.iiii'-,(>l thc£« ,,.',., Ha B,itainii,\i arc practically valueless.
Bibles and Book of Common Prayer. — Ai.ssj
MiMiii £2 ids. would be the value ol the three
Theatrum Botanicum, 1640. — Ai.ojS (Tunbridee
rh bool is worth aboul £2 21.
Complete Body of Husbandry, 1750. ' 1 04; Bowi
>il value ol ihis win . 11.
Tennyson's " Idylls of the Kim;." 1867. Ai.m;
■ 1 hi illustrated bj
1 tore, are pr i ibly worth 1; I he ralue ol
igned letters, or merely
I iwever, do not appear interesting.
Cicero, 1536. Ai,S 4 i (Tunbridge Wells).— The •
Coins. — William and Mary Halfcrown.— Ai,iq8
1 varieties of William and Mary halfcrowns
'■ il 1 \. .. rang
from 3s. to ;• ling to condition.
EngraVingS. — " Le Premier Navigateur."—
Al,l6o (Johannesburg). — This plate is worth about £2, and
that on the left of photograph, 30s.
"The Fisherman's Departure " and " The Fisher-
man's Return," by W. Ward, after R. Corbould.—
Al,351 (Copenhagen).— If ordinary mezzotints, this pair is worth
about £\0 to £\2, or if prints in colour, about double the sum.
The portrait of Dreyer is worth about £4, to £5.
" The Dying Fox-Hunter," by C. Hunt, after F. C.
Turner.— Ai, 357 (Olney). — We presume this is the print you
reler to. In colours it is worth about 30s.
Hieroglyphical Prints. — At, 352 (Wakefield).— These
are worth onlv a few shillings.
" Paulo and Francosia," by W. Ward, after J. R.
Smith.— Ai,3?S (Woodbridge).— The value of this engraving
is about 17s. 6d.
"The Right Hon. Lady Mary Campbell," by J.
McArdell, after A. Ramsay.— At, 330 (Totnes).— This is
a rare old portrait, and a fine impression would bring from
£™ to £15.
Mezzotints by Vertue.-A1.2S0 (Harrow-on-Hill).—
If these are prints published by Vertue, they are of very little
value. Vertue only engraved in line.
ObjetS d" Art. —Leather Mug.— Ai, 284 (Christ-
church).— The leather mug you describe is not likely to be of
the 14th or 15th centuries. It is more probably modern, and
of little value, but we should be glad to inspect it. We do
not quite understand what you mean by "Pretender glasses."
Genuine old glasses of the 'period (1715-1750) are worth about
30s. each, but it inscribed they would be of greater value.
Pottery and "Porcelain.— Teapot, etc.—
Ai,935 (Birchington-on-Sea). — Your enquiryis much too vague.
I in ti apot decorated with pink roses is not likely to be Lowes-
toft, but we cannot say what it is, or its value without seeing it.
The jugs are probably old Staffordshire, but they must be seen
Spode Dessert Service. Ai,ni7 (Florence).— Spode
:\ urn. h iii 1 liaiai ter, and 11 is difficult to give
an approximate value. Your service, however, may be worth
about £& to £10.
Marks on Plate.- Ai.SS; (Abergavenny).— The marks
you give appeal to b those. il a l'.uU maker, Veuve Chican-
neau.
Vienna Porcelain. A 1.3.11 (Ashtead). The mark you
n-| luce resembles that used in Vienna, but von do nol saj
what ihe ornament is that you wish valued.
Sheffield Plate.- Candlesticksand Stand.-
AJ.,203 (Uombay). I mm \.nn desci iption, the artii !•■
appear to be gi num.- 1 'I. I shcliield, and we think it would pay
ill them in Bombay than to ship them to England.
Your miniature must be seen to be valued.
Christ
By rr. n
December, 1909.
4
%%
^s*
^fe|-ceiA^cTieN-^
By Lady Victoria Manners
That London is proverbially the richest
city in the world, and that from the artistic and
historical point of view its National Picture Galleries
and Museums yield to no other nation in their
wealth of priceless possessions, is a fact beyond
dispute, but
surely the ex-
ceeding richness
of its many pri-
vate collections
has been some-
what overlooked
by the art
student.
Grosvenor
House, Stafford
House, Bridg-
water House,
and a few other
Galleries, are,
of course, well
known ; but it
is of the equally
interesting, but
less known and
appreciated Lon-
don Galleries
that I propose
to write in The
Connoisseur
Mai . \/i\k.
The collection
of pictures be-
longing to Lady
Wantage at 2,
Carlton Gar-
dens, is one of piete
Vol. XXV. — Xo. 100. — N
remarkable interest and beauty, and conta
of the very finest examples ol Dutch ar|
land. The majority of Lady Wantage's |
the French, Italian, Spanish, and English Schools
are at Lockinge, but several important e>
those schools
• arlton
. and it
with the many
1 Hitch pictures,
which will form
the sub
this article. The
of the
collectioi
Alio!:
Lady u
77/6' Connoisseur
and Mr. Humphrey Mildmay. One picture was sold
to the King of Holland, and the remaining ninety-
nine were divided by private auction between these
three collectors and the picture dealer, Mr. Chaplin,
through whom the purchase had been conducted.
Mr. [ones Loyd acquired the following pictures:
All these pictures, with the exception of The
Enchanted Castle, are at Carlton Gardens.
Lord and Lady Wantage added many important
works to the collection, but as these are mostly at
Lockinge it is unnecessary to enumerate them,
with the exception of the splendid portrait of Lady
J \N BOTH IT Al IAS LANDSl U'l
Name of Picti RE. Artisv
View in the \V 1 at the I [ague I I
The Watei Mill - Hoi bema.
A Landscape Aart van dei V er.
The Wood* i Aarl van -I' i v ,.
I ' i li.ui I ..iinl i .ii»' ; iin'ii l.nhini!', 1 1 1 ■ ■ 1 1 h.iihli ■■ - 1 " -. i
in l Hd Lady . . . r
i ; 'ii Waterl ill 1
• - • ■ [an Steen.
with Shipping • W. van Veldi
h I ' and < iun - Wynants.
I purchased from the
. ollei tion ol Mr. William W ells ol Redleaf :
\ iMl of Pn
i
■
'-.nil Life -
I n
I I :
ii Hoogh.
Eardley and her Daughter, b) Gainsborough, which
is in London.
Before attempting to describe the pictures in
detail, 1 must devote a few words ol praise to the
excellently written and beautifully illustrated cata-
logue ol the collection on which I have based the
following notes.
The preface by the late Mr. Arthur Strong is
written with thai brilliant insight which was such a
i .in f ature ol that distinguished critic's
writing, and the catalogue bj Lad) \\ antage, assisted by
Mr. Temple el the Guildhall, is a mine ol information,
and greatlj adds to the enjoj menl and apprei iation
iii tun s. Would that othei fortunate owners
ol pii ture would emulati I .ad) W antage's exi ellenl
.96
Lady Wantages Collation
example, and provide, if not beautiful c
least reliable and useful ones; for who do
know the many hours wasted in useless search, per-
haps for some historical portrait or landscapi .
to an imperfect list, to say nothing of the foo
of allowing valuable works of art to remain unclassified
and uncaredfor ?
The Dutch painters of the seventeenth century
"Net it must not be thought that Art
the one branch of portrait painting, •
inancial support on the part
the wealthier
\ ith few excepl
ted for the p
farmers and
• •table dwellings with n
JAN STEEN TWELFTH NIGHT
must ever hold a foremost place in the annals of art.
Ostade, Jan Steen, Pieter de Hoogh, Gerard Don,
and a host of others created, as it wei
new branch of art. They were the pion t
painters, and were content to paint simply what they
saw around them, and did it with consummate skill ;
The Peaceful Dutch Home, The Lady at her Music
Lesson, these and many other similar subjc
first treated by the Dutch artists in the gold
of painting.
In that interesting book, Cour,
Republic ( io^S-i '<^'> I the authoi
certainly was there a more genuine, spoi
burst of artistic life than in the hall i
which most of the early Dutch pai
estimated at two hundred, ea
,i IK. Iiv
pieces thai
Galleries."
ially rich in genre
butes an attractive
■ . Frans Van
'.
at length on tl
The Connoisseur
three in the
National Gallery.
In all there is
the same mastery
of light and
shade and mar-
vellous attention
to detail, but
nothing "finicky"
in treatment.
De Hoogh was
certainly not
afraid of bright
colour. In this
picture the
woman is dressed
in a bright scarlet
skirt, blue apron,
white bodice and
cap : the man in
a black velvet
jacket and beaver
hat, but the
effect is most
harmonious. ( In
the table is a
" Gres-de-Flan-
dre " jug : a
little girl is seen
appr o a c hi ng
from the house,
carrying coal in
a square earthen
pot. This picture
leaves an impression on the spectator of solid cleanly
Dutch comfort and prosperity, touched with the
spirit of poetry that is very pleasing. W.ugen,
vol. iv., page 130, says: "This master, who is the
paintei of sunlight par excellence, appears in this
beautiful picture in the highest perfection of his
Sir Edwin Landseer, when this picture
was in the collection of Mr. Wells, at Redleaf,
madi a slighl sketch ol it in oils, which is now at
1 ,i! It- hi Gari
We must now turn our attention to the meat
\N OSTAD1
hibited al the Royal icadi mj Old Masters, 1^71 and
[888, .1! ,: ' ' 12, and al the Burlington I' ine
1- 1 i he collection of John Smith until
m Wells, Esq., of 1
I
Smith, in v.. 1. i 1 1,1
> I possi ies in an
painter of Dutch
low life, Jan
S t e e n ; he de-
lights in depict-
ing scenes of
revelry and
tavern life, and
here we find him
; at his best in the
picture entitled
Twelfth Night.
It is a very
characteristic
scene of gaiety.
Sixteen people
are represented
merry - making,
and are doing it
with great vigour
and evidently
con side rable
noise.
Jan Steen was
fond of intro-
ducing mottoes
into his pictures:
in this one the
words " S o o
1 lovde " are in-
scribed on an
iron < handelier,
being the first
"""' s of the old
1 Hitch proverb,
"As the old people sing, so pipe also the young'':
so in his Grace before Meat at Belvoir Castle, the
(handelier in the background bears the words "Ons
dagelyck brood" ("Our daily bread").
Waagen (in his Treasures), vol. iv., page 1 13, says
ni Ladj Wantage's picture, "In point of solid and
careful execution, this is a first-rate specimen ol his
art." It is signed on the flooi below the large barrel,
"J. Stem " (J. and S. connected).!
/ ..• / , m ■., al :o b} Dm Steen, is a curious
picture, and well illustrates the strange revival ol the
practice ol alchemy which took place in Holland in
the vi nti nth 1 1 ntury, and became sui h a frequent
orks
I This picture h Chevaliei
I rancotta) until 1816, Chevaliei Erard, Mi. John Smi h
it Raisonnt until 1828, Hnnm Verstolk van Soelen,
. 111 1846. [I ws
ind the Guildhall Gallery, 1892.
The Connoisseur
subject with the
Genre paint-
ers. ]t repre-
sents the full-
length figure of
an alchemist in a
loose jacket and
trousers, seated
before a furnace
and crucible. A
woman on the
left is crying as
she listens to a
man reading a
paper, which
seems to tell her
that her valu-
ables, after being
melted, haveonly
yielded a small
amount for the
metal. Leaning
towards the wo-
man i s a man
who seems to be
telling her they
were worth no
more, w h i 1 e a
stout man in a
black cap is seen
entering the
a m o u n t in a
book.
This picture
has been en-
graved by Fran-
cois Godefroy
undei the title
ol Les Soufflem t MELI HIO r di hondei oeter
e I la Paisanne n' '"■
( 'reditle. It is signed and dated r.668, and was in the
collection ol < iolonel Bi mrgi oi :, ami exhibited at the
Royal \' ademy ( Hil Masters in i S 7 j .
David Teniers (the younger) is represented b)
pictun La Femm< Jalouse, Les Philosophes
Bacchiques, ami The Alchemist. I. a Tern we Jalonse is
1" a haps the besl e <anipl< , in spiti i »i its sordid theme.
The woman is represented listening to the gallantry
ol an elderlj peasant, whose jealous wife is seen
■ ill i n in." them from a w indow on the left, <
shutter ol whi< h is pen hed i \ ! ■
treated this unattrai tive subject with his a< i ustomed
i level nesi , and the lei r on the man's I.
with gnat skill "1 this picture that it
is "a little gem";
it has been en-
graved by J. P.
le Bas, and pub-
lished under the
title of LaFemme
Jalouse.
The picture is
signed, and was
exhibited at the
Guildhall Gal-
lery in 1895 : it
was purchased at
the Gray sale in
[838.
Teniers found
time to devote
h i in self to de-
signing tapestry,
a t which h e
much d i s t i n -
guished himself,
many of the very
finest panels of
Flemish seven-
teenth century
tapestry being
taken from his
drawings, and
are known as
"Tenieres."
Lady Wantage
possesses two
sets of tapestry
hangings de-
signed by him —
The Set/sons Oj
the Year, Tk
\. ikk. PEAHEN \M> OTHEB BIRDS Ft S k /'•'■
<>-l IN - andFisA Market.
The pieces ol the Fish Market set have beautiful
gold-coloun d bordei . with flowers and trophies, and
hear the Brussels mark, an escutcheon between two
B's, ami ihi' name ol one ol the leading tapestrj
mm ters win. owned looms, " J. A. C. C. V. 1 >.
Bi
This family (Van der Borghts) was celebrated in
the annals of tapestry until 1704, when the Brussels
■.Mill-' fina closed in the person ol Jai ques
\ .11, di i Borght.
; re was in I !..■ 1 oiled ion oi M, 1 1 nte de Vena
until 1750, M. Blondel di Gagnj until 1776, M. Beaujon until
17 s :. M I a Bordi Mi n nil il [80 !, ...hi Edward Gray,
Lady Wantages Collection
Adriaen Van
Ostade contri-
butes a good
study of still life
— the back court
of a housi , with
haddocks and
other objects ;
and Melchior
d e Honde-
coeter one of his
characterise ii
bird studies, a
beautiful pea-
cock standing on
the branch of a
tree, with other
birds and a
squirrel, seen
against a blue
sky.
The great land-
scape and marine
painters of the
Dutch School
are well repre-
sented in this
collection. Jan
Wynants, one of
the best of the
early Haarlem
' School of paint-
ers, contributes
two small pic-
tures; The
Sportsman with
his Dog and
Gun is perhaps
the finer. The
figures are by
Adrien van de Velde, who was Wynants's pupil. This
picture was purchased from the Vei :1
in 1:848.
Landscape and Cattle is a good example of \\
middle and best period, and was acquired from the
collection of the Duchesse de Bern'.
A Field of Battle, by Wynants's g]
VVouverman, is a splendid picture. Here we have
the horrors of war fully presented,
dying lie strewn about the field; all
action; troops of cavalry and infantry ai
distributed over the scene; volum
against the .-sky. The painting o! the ■
four horsemen is specially fine, the n.
\U1im 11MI I Mi
mount
white • 1:
admiral 1
shortened. This
picture
the l'n
Hid was
purchased in
u Mr.
Buchanan.
Smith, vol. i.
plement
No. 1 \ .
" This very capi-
tal picture is
painted in the
artist's later and
most esteemed
finishing
ar and
silvery colour-
ings." It has
shibited
at the
Acadeii
• 1871
and 1 8
the Guildhall
1 s a a k van
(til e
broth.
two lani
ntry Inn
The Country Inn is an admira
1. it, white ruff and
plumed hat, has dismounted from hi - hi
-
The Connoisseur
DE VEI.DE
breathes the spirit of the cold North. The scene is
a simple country subject : a timber cart is being
driven along a road towards a sportsman who is
advancing with his gun and dog.
Cuyp is represented by a large picture which is
curiously unlike his usual style. Here we have portraits
of three children who are fondling sheep, a milkmaid
in a red dress looped up over a dark petticoat is in
the foreground, while in the distani e is a view of Dort.
This example is probably an early work of the master.
There are four pictures by Aart van der Neer, a
r of < uyp. . / Fro . n ( 'anal, number 158, is
work. Tlir Winter Landscape is a charm-
!i\ Numbei t6r, The Wood-cutters,
is in the master's best vein, and recalls some of
Gainsborough's landscapes in its poetic treatment
ami suffusion oi golden light. This picture, which
1 iiiieil from tin- 1 ollection ol Baron \ erstolk
in 1 8 pS, bi .1! i the art i 1 at the fi u il ol
[1 wa 1 hibited at the Royal Ai ad mj
Old Masters in 1871 and the Guildhall Gallery
Jacob van Ruysdael contributes five landscapes,
the two hanging in the drawing room at
the ii 1. \11ml ei 200 depicts a Grand Rocky
tnd ;■ .1 verj • I
example ol the painter's treatment ol th
;i hi view in whii h hi delighted. 'I his
picture was purchased from the Verstolk collection.
Waagen, in vol. iv., says of it, " The individuality of
every portion is more marked, and the number of
details more numerous than in any other picture on
so large a scale by Ruysdael that has come before
me." Number 201, a Landscape with Avenue, is a
charming peaceful forest scene, with a clear stream
flowing towards the foreground. Number 202, River
Scene, with Waterfall, is a line picture, and was in
the collection of the Duke of Brunswick at Wolf n
buttel. Number 203 is a charming Woodland
and is a good example of the artist's earlier period :
and number 204, The Windmills, is a delightful little
picture full of feeling and brilliant in treatment. It
is sad to think that Ruysdael, who may justly be
called the originator of landscape painting, lived in
povertj and died in an almshouse at 1 [aarlem in 1681.
Ill rearetwo pictures bj Meindert Hobbema, Ruys-
dael's friend and pupil: View in the Neighbourhood of
,1 Dutch Village and the beautiful Watermill. The
1 entral pari ol the latti 1 picture is filled by a 1 lu sti 1 ol
thick-foliaged, grey-stemmed trees with cottages een
among them : under their deep shade a man and
woman are walking b) the side of the mill-pool, on
the extreme righl bank ol which two men are fishing.
I n the left, t ho nigh the shadowed foregn mini, a d< 1 pi)
lulled road, along which peasants are passing, leads
between sunny harvest fields towards a distant village,
Lady Wantage's Collection
the church spire rising amid sunlit trees. The sky is
that of a fine summer's day, with white clouds floating
over a blue surface. The leading feature is the
contrast between the dark shady foreground and the
sunlit distance. This picture was in the ■ ollection ol
M. Muller, of Amsterdam, until 1827, then in that
ol Baron Verstolk van Soelen, from whom it was
purchased in 1S46. It is signed and dated on tin-
lower edge of the picture. " M. Hobbema, 1664."
The Wood at the Hague, by Jan Hackaert, is a
characteristic example of this master, who is at his
happiest in representing the woodland scenery of his
native country. The figure and animals are prob
ably by Adriaen van de Velde. In the Verstolk
catalogue the title of the picture is augmented
by the words: " Avec un depart poui la ch;
personnages de la ('our de Guillaume II." This
picture was in the collection ol M. \ an Koort, neai
Leyden, and then in that of Baron Verstolk van
Soelen, from whom it was purchased in 1846. Smith,
in vol. iv., says : "This is a production ol th
excellence and beauty." Waagen also mentions it (in
his Treasures) : it was exhibited at the Royal \<
Old Masters in 187 1.
The most interesting, however, ol t li-
the splendid Commencement <P Or age, b) R
The subject is a view taken from a height in /
in the distal ol the sea, while in
ground is a river which emerges from a narrow
channel. 'I he tone of this picture is a beautiful
golden hue. and 1
sunlight and the approai hing storn
while the sky is a splendid
full of mo- ' d very few
landscapi s : the b a vn as Rem-
brandt'i Mill, in Lord Lai
( lassel ( Sail
Commencement D'i | upil, Philip
de tConinck, who 1
a different point 1
A line 1 n ntly in the
l n ol el i
not only tl
The Connoisseur
Le Conte de Vence till
the end of the eight-
eenth century, when the
gallery was sold and the
picture remained perdue
till it was discovered in
the studio of an artist in
Paris, where it was said
to have remained un-
noticed for upwards ol
fifty years, when it was
brought to England.
In the adjoining
room hangs R e m -
brandt's Portrait of an
Old Lady, supposed to
be the artist's grand-
mother. In the
National Gallery is a
larger portrait of the
same 1 >utch Frau, and
it is interesting to know-
that in The Connois-
seur Magazine for
May, iooq, there was
a reproduction of a
splendid portrait by
Nicholaes Maes (then
in the possession oi
Messrs. Dowde swell)
which is probably a
portrait of the same
elderly lady ; in any ease
the likeness is a strik-
ing one. Lad} Want-
age's picture is signed
Rembrandt, i 1661 ;
the original drawing
for the portrait is in the
collection of Mr. J. P.
Heseltine.
The lady is dressed
in a plain widow i dl i
nearl; blai Land a blai k
i ap svhii !' des I in
a point on hei forehead,
id which is a brooch,
while round hei nei k
• hite ruff. As a
study ol \miI
irtrail is un-
ci. The old
lady's face, though
withered and wrinkled,
is full of vivacity and
expression."
There are three land-
scapes by Jan Both and
one by Adam Tynacker,
both Dutch artists who
lived and studied in
Italy during the seven-
teenth century. In their
work we miss the si ion-
individual note struck
by a Hobbema or Cuyp,
etc. The Italian Land-
scape, No. 10, by Jan
Both, is, however, a
line example of this
artist's work, and is re-
markable for the clever
rendering of warm sun-
light suffused through-
out the picture : while
Pynacker's Italian
Landscape: Men landing
Merchandise, is a charm-
ing composition, re-
calling Claude Lorraine's
work in its general effect
and treatment. Adam
Pynai ker's easel pic-
tures are rather rare, as
he was chiefly employed
in decorating the walls
of rooms in 11 olland
when he returned late
in life to his nati\ e
country.
The great naval powei
of Holland in the seven-
teenth century found
expression in its school
ol marine painters,
which excelled in this
most difficult branch o(
art. Lady Wantage is
the fortunate possessor
ral importanl ex-
amples by Willem van
I .. pictun '■'. in ''"
Elections ol I orcl Charles
.i, Mr. fohn Smith,
and Baron Verstolk van
Soelen. Ii was purchased
from the Verstolk collection
in [846.
Lady II 'ant ages ( 'oiled ion
de Velde, Ludolf Bakhuizen and Jan van de Cappelle,
all of which merit attention. Willem van de Velde
shows to advantage in the beautiful canvas entitled
A Calm: Soldiers Embarking. The artist's extra
ordinary skill int he drawing of the barges,
boats,, etc., is well displayed, while the whole
picture breathes a spirit of repose and calm. The
figures are- probably by the artist's brother— Adriaen
van de Velde. Some critics have attributed this
canvas to Van de Cappelle, to whose delicate
and subdued tone of colour it bears much
blance.
Still Wafer with Shipping is another charai teristii
sea piece by the master ; the reflections of the boats
in the water are very well rendered, and the sky with
beautiful clouds is a most delicate piece of painting.
It is interesting to know that Willem van de Velde,
who may justly be regarded as the greatest marine
painter of his agi .
accompanied his
father, the elder
Van de Velde, from
Amsterdam to Eng-
land in 1675, and
settled at Green-
wich. Charles II.,
by a royal " ordin-
ance," "thought fit
to allow the salary
of ^100 per annum
unto William van
der Velde the elder,
for taking and
making draughts of
sea fights, and the
" This picture was
purchased from the
Verstolk Gallery in
1S46. Waagen, in his
Treasures, vol. iv.,
says : " This picture
shows how justly the
master was renowned
for his calm
Iransparency of the
reflect!
obje<
unto William van de Wide thi
for putting the said draughts into 1
use.''
fan van de Cap| elle is the
titled A Calm. It depicts a morning effect.
A group of fishing boats I with sails
man-of-war firing a
gun, and otl in the distance. In the
immediate foreground of sand, wil
with fish and a
the shallow water,
one carrying a basket, the other unloading
ire, " In all resp< •
delicacy and transpa
picturesquely conn 1
il belongs to the best work
Ludolf Bakhuizen is represented by two
A Stor,,, oj • i ' ami .-/ Fresh
mer is perhaps
the better canvas,
of this 1
votion to
his art was such
thai he I
mis upon
the sea in
w in d an 1
upon the waters.
Bakhuizen has
given us here a
forcible rendering
weather
. ith his ac-
customed skill and
dexterity.
•
"
sis
lis
HI
• s> - 1
Althou
" Japan Cabinets
the vears —
England the appreciation of
,varm from, at least, as early as
" While cynic Charles still trimm'd the vane
Twixt Qitcisii,!!!/? anil Ciistt'fininu
In days that shocked John Evelyn,"
we did not employ Oriental panels as a decoration for
our native cabinet-work. We attempted a thousand
imitations, and produced a world of interesting
decorative furniture in that manner, but as to the
actual use of antique lacquer in an European setting,
that idea appears to have originated in the France ol
Louis XIV., and remained a national taste for very
many generations. In 1664 the Siamese broughl
many examples of Oriental lacquer to the court of
Louis, and its vogue increased as persons of taste
became acquainted with its exquisite qualities. This
fashion has not been greatly written upon, nor have
the actual pieces been reproduced until recent years.
The world of connoisseurship has been •
getically exploited during the last fifteen years or so,
that it is exceptional, at least in regard to furniture,
to find a subject which retains some I
Although well known to all admirers ol th
French periods, very little notice has. however, been
taken of this important method which the cbc'nistes
of the seventeenth and eighteenth centuries used to
add still another note of distinction to then
remarkable creations. The chapter
find in the late Lady I Hike's charming work on
French furniture and decoration do
to have been written, and yet th<
duction of various kinds of antiqu
Japanese lacquer into the panels ol
tury furniture was freely employed. Sue!
have been admired and bought by th
of the earth from I I produced
under the pal L uis \l\ . and i
Court even unto the present tint
never flagged nor failed, although the
course far larger to-day than at any other period in
the history of these elegant exampl •
over a hundl
last twenty^. : years of Lou Quatorze, under the
throughoul the I • ■ us Quinze
— duriii- 1 hanges of style, whether early
or late Pompadour, or R.01 oco 01 du B
while Louis ^•■i/r ami Marie Antoinette still reigned.
even undei Napoli on,
artists was
combined, with unfailing skill, by the most exquisite
ni h ( ouri cabii 1 their own
admirable work.
; 1 ration No 1 -hows the kind ot chest
the panels
ii. and iii..
ind princes
The Connoisseur
'
the bark is cul oi si ored with a pointed bamboo
.ink's a white n ;inous >ap which becomes
rapidly black on exposure to the air. The sap is
drawn from the tree during th summet al night,
i i ill: iii 1 1 111 111 IK. and brought to market in a semi
fluid state, or drii d into cakes. The raw lac, after
pieces ol bark and otb i ai i idental impuritii i ha^
fOl li iiin: Inn
tn crush its grain and give it a more uniform liquidity.
It i th mpen < loth, .mil i : a
- \ nly flowing liquid ready for the lacquerer's
This is a very brii I stati menl i >l the m I
'Aim h tl i iniiii and [apan produi
fine decorations which are shown in the illustrations
here given. As with almost all Chinese aits, the
further you go back into the past ages the mot
beautiful the workmanship, and thus the early pieces
shipped to France undei Louis XIV. will often be
found to be ol the most brilliant and effective quality.
But it was during the Regency and undei the next
kmg that the us,- was iiiosi largely developed. The
period ol Louis XIV. was statel) and unb tiding
to the last i .... ration, although
grand and dignified, did not allow of the slightest
pi rsonal quality. It was for the palai e, pal.ni.il.
I'.lii later the graces of life were permitt d and
id to ilom ish. The grand da) s wen really
' ', and tit,
■
i
I: .,:, B. V.R.I
,,.,,■ *
The Connoisseur
over, but beauty was sought for in every way the
lively mind of man could suggest. The old Oriental
lacquer in Louis XV. furniture suited uncommonly
well with the vanity and elegance ol the age, and
most of those examples now surviving belong to that
i xternall) great period when the beautiful Madame
de Pompadour and her accomplished brother, the
Marquis de Vandieres, afterwards de Marigny, de-
o much time to the domestic and fine arts,
from the cultivation of the soft paste porcelains of
Sevres to the decoration of their houses and the
development of the sophisticated rusticity which
Boucher understood so well, all was easy and delight-
ful to the Pompadour and her army of accomplished
Itlsl-
one of whom so charmingh painted
" Rose-water Raphael, en toulem de rose,
The crowned caprice, whose sceptre, nowise sainled,
Swayed the light realm of ballets and lion-mots —
Ruled the dim boudoirs tlriiii-joni; or drove
Pink-ribboned Hocks through some pink (lowered grove.'
In this wonderfully artificial and yet attractive world,
the very centre of which was Madame de Pompadour's
small but beautiful chateau of Bellevue, there was plenty
of space for the various classes of armoire and cabinet
which appear in the illustrations. The line inkstand.
Xo. vii., might have been made especially lor the
always anxious and always pleasing favourite to glA
to her king. In this specimen the old Japanese
lacquer is of a jewel-like character, which Caffieri's
bronze and gilded mounts set off to perfection.
/: 'lulled. )
L, pauvre //na/i/ pns -' »'
El ./■
a— ^
KSILHGUEITES
Mr. Francis Wellesley's Collection of Profile Portraits
By Weymer Jay Mills
There is a charm and wistfulness about the
silhouette that is not shared by any other form of
portraiture. Beauty preserved by the brushes of
great masters may give beholders powerful emotions,
hut the silhouette is sure ol its subtle appeal. "We
are only friends with shadows," ( ieorges Sand wrote, .
and upon entering rooms like Mr. Wellesley's sil-
houette morning-rooms in his country house at
Mayford, Surrey, one feels the poignancy of the
remark. There upon the walls are the little shadow
likenesses of the great of two centuries. " We art; all
that remain of the page-
ants of many lives ! " they
seem to cry out to us.
The Wellesley silhou-
ettes form probably the
largest collection in exist-
ence. In row after row
amples of the eighteenth
and nineteenth centuries
Each one has its romance,
and is more or less of an
historical document.
They begin with Early
English, French, and ( Jer-
m. m ones, contemporary
with Etienne de Silhou-
ette, the Fit nch Minister
of Finance, who made
them the fashion, and they
go on in bewildering array
until the late queen had
ascended the throne.
There they stop, for the
mid- Victorian silhouettes
have no value in the eyes ol a collector. Tl
the silhouettes thai i
from the wini
true, though, that they are not so plentiful as they were
abroad that Queen
Alexandra was silhouette hunting, there hi
new interest in them, and dealers have grown wary.
The last quarter of the eighteenth century seems
to have been the best period of the profile likeness.
Robinson still grai
: in, and fanny Burnej ■■
■ hair, and
sighing becaust
not find tune
; when
II
• imitating
the English, am
j lish were imitating the
\ Ireneh, and 1
"hen, ' Madan
I
smiled upon ■
he lik
The Connoisseur
collection there are
at least thirty of his
most beautiful ex-
amples — women and
men whose youth has
he en immortalised.
He gave an idealisa-
tion to hair and fea-
tures that none of his
dozens of itinerant
followers ever ap-
proached. Many of
Miers's pieces are
signed, and his six-
inch ovals w e r e
framed in a peculiar
kind of pear-tree
frame, the glass being kingsl
slightly embellished
with black and gold. These frames were always labelled
with the following advertisement: " Miers, profile
painter and jeweller (in, Strand, London), opposite
Exeter Change, executes likenesses in profile in a style
of superior excellence, with unequalled accuracy, which
conve) the most forcible expression in animated
character even in the most minute size for brooches,
lockets, etc Time of
sitting, three minutes.
Miers preserves all the
original sketches, from
which he can at any time
supply copies without
the trouble of sitting
again. N.B.- -M inia-
ture frames and convex
glasses, wholesale and
retail." M iers came to
London from Leeds,
and Ins earliesl advei
,ii m read, " I ,ate ol
II;,'
was in the Strand, "op-
posite the \''.n < hui. h."
< )ne i>i hr, greate il rivals
■. Mi irles, also ol the
trand ■•■. ! " 1 i ;ned him
Royal Artist" by
" Florizel's pi rmission.
He drew Ins likenesses
on paper, leaving the
n ihadow and
tinting the figure, 1 lis
■ in uch
man and
Grassmeyer, the Ger-
man silhouettists of
the same peri oil.
Rider of Temple Bar
was another follower
of Miers, and imi-
tated his work and
style of framing.
Other plaster artists
were Richard Jorden
and one Thomasson.
In Paris the famous
Gonord painted on
plaster and paper.
Silhouette like-
nesses were generally
given away as sou-
venirs of affection, and
,AMILY were often ordered
two or three at a time, for duplicates have strayed into
the Wellesley collection. One priceless silhouette was
done of. Robert Burns by Miers in 1787, and sent
by the poet to his friend John Cotterall. Some
persons had small galleries of their friends. Mrs.
Fitzherbert had such a gallery in her Brighton house,
which was the delight of the old-time children who
smiled their way into her
acquaintance. Even the
king did not think it be-
neath his dignity to sit
for his silhouette, and
when his favourite
painter, Benjamin West,
was away from Court, he
must have become quite
addicted to the habit,
judging by the number
anil variety of his like-
nesses. The Wellesley
collection has two ver)
line ones pa 1 11 1 eil on
black glass. A unique
one oi the -.mie period
is of < leneral Fitzpatrick,
whofought in theAmeri-
111 \\ .11, 1 778. This is
on sihi red glass ileco-
ratedwithgold. Anothei
curious one ol the king
was painti il on a W'or
r cup. w e < a 11
imagine George 111
climbing the stain ase ol
his"deai Mis. DelanyV
The IVellesley Silhouettes,
little house at Wind-
sor to present her
with one of his silhou-
ettes, and she, justly
esteeming it, kept it
hidden away to wan-
der down the years.
Some of our ancestors
owned quaint albums
of silhouettes, ( i M the
table in Mr. Welles-
ley's library is such an
album, formed by a
German baron in the
middle of the eigh-
teenth century. Each
page is within an
elegant border, and
the book contains a
hundred or more likenesses of a circle that looks mum:'
thing of an ancient " Cranford." It is rather a male
Cranford, for the sterner sex is in the majority. The
student of old manners and customs could obtain a
world of information from their wigs alone, for there
are drop-wigs and buckle-wigs, Grecian flies, fox-tails
and macaroni toupees, each expressive of the wearer's
character. Certain of these beautiful eighteenth-
century albums — one done by Lavater, it is said —
have come to light in exhibitions of silhouettes held
in German cities. Although the silhouette was born
FREDERI'
(f^ftaisc'du ftincc ^Couis Q. Ch .
in France, the
in the art was
transported I
many. The h
in the Weill
ique, l
II ; Dai
family of Meintz
with their beautiful
yellow and pink back-
grounds, Count Briihl and his da izabeth
Sophia I lorothi a \ 01 ol Bismarck,
who was painted in 1 756.
Patience
Wright. re lam. his for her wax profiles.
Adams, the wife ol the American Ambassador, who
1 arm in l ondon in the >rii
and described her as "the queen of sluts." This
artist, from hei freedom ol peech and familiarity
with her sitters, made qui! in London
lor .1 time, ami managed to get herself into a novel
in company with a choii e group
including the famous Montagu. Mrs. Wright cut her
silhouettes with a sharp poin
made the
mil .inmi
contains a
Ol Do 1 ti
il i stinguish-
The Connoisseur
in the left hand and the scissors in the right, was
thought such a genteel and elegant accomplishment
that it became a part of the art curriculum of young
ladies' seminaries, and had its place after the tea-hour
with its intimate, the embroidered picture. One
PERD1TA ROUINSON
wonders if poor Becky Sharp snipped away at the
turbaned head of Miss Pinkerton at some vanished
window facing Chiswick Mall. "A nose like the
beak of a wherry" must have been a temptation.
bath, the Mecca of all eighteenth-century artists
RNll II
!l8
The IVellesley Silhouettes
during the few weeks
when My Lord or My
Lady left the dull shire
for a sip or two of the
waters, and a galnw of
other di versions, was
always the home of the
silhouette. Women like
the I an Lindley,and men
of the firebrand "Sherry"
type, were sure to be
calling upon Rosenberg
at all hours. Cupid had
a way of dashing about
those old pump-rooms
and playing pitch-and-
toss with the affections.
.Mr. Rosenberg's 1 1 ioms
were quite near the cele-
brated Gainsborough's,
and, judging from the
crowd of Bath shadows
tnat have come to Mr.
Wellesley, Rosenberg's
ante-chamber must have
been as crowded as
that of Gainsborough's.
Many of them are
nameles .
able only for their
beauty Ol I xe< Ution or
quaintm
Who w
and bumpkin
broken
painted i
was evidently I
famous exponent of that
art. His pictui
taken always on plain or
I .latter
have b.i
and \ ai ions ■
tions. and
come upon them in all
sorts of out-of-the-way
iks and
»; inland towns.
The Connoisseur
VNTOINETTE
attics of Irish country houses, rag fairs, and heaven
knows where. ( )n the back of each portrait, scarcely
decipherable, there is that magic word Bath. The
pictures try to whisper ot those days at the gay
resort — of moons and flickering tapers, of the music
of "Id gavottes and roses that bloomed long ago.
The French corners of the Wellesley rooms art-
all sidelights upon history. The oldest French
portraits in the collection are mounted upon faded
blue paper, and with their riband and nosegaj
decorations, the profiles have some of the delightful
quality of Moreau drawings. Silhouette probably
cut one or two of them himself. Near them stand
the original Figaro and the original Suzanne, wittily
VBETll VON
The IVellesley Silhouettes
talking over the Mariage de Figaro, and just beyond
is a simple one of Marie Antoinette, whose smiles
they sought in life. The French queen is painted on
Paris plaster, and she is simply dressed, and wears a
garden hat. This portrait was probably done at Ver-
sailles when the ladies of the court were trifling with a
milkmaid existence. Another, of Napoleon overlooking
a battlefield, is an Edouart piece drawn from the imagi-
nation. Edouart, a Frenchman who sp
several in th •' illection showing the ornate
interiors of 1S30. His work is much SOU
by collectors, anil is generally found in golden maple
The Coiinoisseu?'
and sat in wood
frames. His
pictures are
often come
upon in ( Kford
as well as Cam-
bridge, and he
may have gone
from one Uni-
versity to an-
other. Some
belonging to
the father of
"Alice in Won-
derland " were
disposed of at
the latter place.
Near Napoleon
is a man who
looks like the
Marquis d e
Lafayette. He
has bee n
sketched before
t h e panorama
of Paris. Mile.
M agan of the
( )pera by Mar-
tini comes next,
and by her side
is Beautnarchais
staringat I >azin-
couit. Perhaps
lie is remem-
bering the night
the celebrated
Met or essayed
the role of the
barber. B)
Beaumarchais is Louis XVIII
and so they continue leading 01
About the tin I Edouart there were several more
or less well known English profile artists — Foster and
Harding ol London; Atkinson of Windsor : Wilton of
Port! ea ; Franklin, who cut silhouetti s in the Thames
Tunnel ; II. \ J. Walter ; Loecksi, a travelling Pole,
who went from city to city holding exhibitions and
distributing cards proclaiming his talents to the
•• nobility and g( ntry.' 1 [e i ul silhouettes at his
exhibition during the day, and after six o'clocli was
free to visit houses for sittings. Perhaps the n.10 I
noted town man was Mastei Hubard. The Princess
\ ii toria went to him when a young girl, little dream
ing thai she was soon to awake at Kensington and
the work of Gonord,
back into yesterday.
hear guns that
would proclaim
her queen. Hu-
bard painted
with India ink,
and much of his
work is overlaid
with gold. Hats,
lace, and jewels
were wonder-
fully done by
Foster ; and a
( lerman of the
period, Henrich
Kniger, added
touches of bril-
liant colour to
his black draw-
ings — fox-hunt-
ers, town-criers,
bell - ringers,
school -masters,
and actors
seemed fond of
being portrayed
with black faces
and coloured
bodies. The
fashion was a
quaint one, and
m a d e most
persons look as
if they had
stepped 'nit of
the pages of
Charles Lamb
or some other
w h i m s i e a 1
on author.
Of all the silhouettes in the Wellesley collection,
perhaps the most charming are those of early child-
hood. There are any number of playful children
captured at the romping hour — girls holding single
flowers and garlands, with branches ol cherries like
John Russell's famous Cherry Girl, and boys fingi i
ing hoops, tops, ami diums. Then then- is more
serious youth with its hooks, meditations, and
primly-folded hands. It is all quaint and fanci-
ful enough to have found favour in the eves ol
■sir Joshua. Oh, those happy children who have
long since thrown down their toys' Although w
li.t\i only these shadows, we can catch the shrill
treble of their voices and the patter of their loot
steps.
wk
Some Artistic Door=KnocRers
By H. B. Westerham
Macbeth.— Whence that kno king (Kno
Hew is it with me when cvi'i \ inn -i' ,n .1.1
Porter. 1 1 r. - i U no. king, puk-cl ! i Kno km- within.)
Knock, knock, knock! Who's there, i' the name ol
Beelzebub ?
It is not so many years since that there was
dug up in Morayshire an ancient iron heurioir ol
rude and ponderous workmanship, which one valiant
Scottish antiquary did not hesitate to suggest might
have been the very implement which so awoke the
echoes of that memorable night at Macbeth's castle.
As to the antiquity of door-knockers, they are
probably not much less ancient than that period
when civilisation and the desire of privacy decreed
that doors, having superseded hangings, should be
locked, barred, and bolted. A curious early form is
a short iron rod suspended by a chain, but as this
constituted a too convenient missile to hurl at the
owner of the dwelling, it probably did not long
survive. In the early Middle Ages the iron or bronzi
handle fastened securely on the outside of
was itself a most effective
knocker, and for a long
time the knocker therefore
fulfilled a double duty,
being a heavy round ring
suspended to a stout clamp,
and almost totally devoid
of artistic pretensions. It
is curious that in modern
flat life in London to-day,
where the knocker has been
superseded by electric bells,
the flap of the letter-box
commonly serves the same
purpose as a door-knocker
by those whose business or
inclination leads them to
knock as well as ring.
By degrees the heavy
iron or bronze ring yielded knock
.1. ii n
to the influence
chasing and bevelling, as in s. .
seen in the national collection at South Kensii
Then the support, from beingamere plaque of metal.
began in the age of the blacksmith I
shapes, until we see evolved some verj fii
of delicately wrought work before the handle itself
had emerged very far from its primitive ring-shape.
The appearand' of the subjacent striking knob marks
a stage in the evolution of the knocker proper, and
when the suspended metal serves no othi
but that of " committing a friendly but ob
assault upon a door," then the true marh ■■ ■
porte is fully evolved. The thick ring or h;
way to a slender bar of metal, terminating in a
hammer. During tin- transition period of ironwork
in the fifteenth century mo : bellishment
was still directed towards the back-plate, ai i
: itself. Then the Renaissance and the
know who it
German or Italian wo
first saw in tl ibilities for
sculptural treatment. A
h (most
commonly a dolpl
times that combination of
nings. Th
until, in the hands of the
Italian n
Giovanni di l>oli
great exten
showing '
company i
knocker, !■
The Connoisseur
palace. Two cherubs bearing
a scrolled shield are astride
a pair of dolphins, a shell at
the base of the design serving
as handle to the knocker.
Another Italian knocker shows
us Neptune and a couple of
sea-horses. Indeed, in the
hands of some of the French,
( Irrm.in, and Italian sculptors
almost any design, even to
groups of lour and five figures,
was adapted to the purpose,
until all simplicity and sug-
gestion of utility wire lost, and
the door-knocker became a
kind of hanging statuette.
Alter a century and a half
there came a return to sim-
plicity, and even to primitive
severity. The knockers with
which the eighteenth-century bronze knocker
,- , • , ■ , , . FROM THE PALAZZ
Englishman equipped his
front door were less things of beauty than utility.
They were cast from a half-dozen patterns, amongst
which a lion's head or a clenched hand were favourites,
and only occasionally did one come across a human
lace or a reversion to
the dolphin or dragon
type. When the fashion
"I brass k n oc k e rs set
in, these were usually of
the plainest description
— a curved far ol metal
and nothing more.
It is not to be denied
thai .1 powerful fai toi
in i educing the door-
knocker, as well as the
bell-handle, to its
simplest and smallest
(as well as most inex-
pen iivi ) dimensions
pli asa ni pre
\ ii torian pastime of
wrenching the
from tin 11 soi kets, a
pastime with whii h the
am ient wati hmen very
ineffectually intei fered.
w hen a householdei
had no guarantee that
i
knockei a week from
this cause, he was not very
apt to spend much money on
objects which were costly and
ornate.
A door-knocker is so pro-
foundly interesting a symbol
that, however it may be super-
^•JS^.. J seded by less resonant and
imperative contrivances, there
will always be some house-
lovers whose house-pride not
only will never consent to
depose them from the front-
door, but will even devise
new and pleasant forms for
them to take. There are even
collectors and connoisseurs of
knockers. There is a beauti-
ful set of them in the South
Kensington Museum, and one
private collector is reported
to have upwards of foity
interesting varieties.
"The door-knocker," as has been well said, "is
a silent witness of much human emotion. It has an
integral part in the life of the home it guards." It was
probably a conviction of the truth of this sentiment
that induced the late
Dante Gabriel Rossetti
to reject altogether the
prosaic knocker which
the builder of his Chel-
sea house tried to palm
off upon him, and to
design one more in
keeping with his own
taste m these matters.
This knocker has long
attracted great attention
on account of its work-
manship : but it is far
more notable, one may
opine, for its personal
associations — a remark
doubtless true of the
same implement on the
doors of all gn at men.
Another aitist's dooi
knocker is that which
Sit Lawrence Alma-
Tadema has affixed to
his house in St. John's
Wood, copied from a
Roman comic mask.
The Connoisseur
This brass knocker has attracted far less attention,
perhaps, than it deserves, because it does not face
the street, but an inner courtyard, and is so far
screened from the admiring gaze — and perhaps the
cupidity — of the passing pedestrian.
Sometimes it happens that a beautiful knocker,
from its very closeness to the street in a bustling
neighbourhood, will escape the attention it merits.
Think of the thousands who daily perambulate
BRONZE ABBEY KNOCKER FIFTEENTH CENTURY
Piccadilly, and the few who notice the pair ol
knockers which adorn the outer wall of the Duke
mshire's town bouse in that thoroughfare. The
knockers themselves are a survival. Until a few
N . ago the paii ol wooden gates upon which they
are fastened formed the only entrance for visitors
on toot to Devonshire House. Now splendid iron
gates have been en cted, ami the portei is summoned
by a bell. Ni i entrance ol wood and
o kers remain, although the latter are
ivi ' i mi ui i mil, which detract
somewhat from their beauty.
many Other artislie knoekeis to be een
in the West End. Several examples ol the dolphin
DUKE OF DEVONM11K1. S KNOCKER I PICCADILLY
knocker occur in Mayfair. There is a pair at No. 2,
Connaught Place, and there is a specimen of the
single sort at No. 57, Cur/on Street. But those on
the door of the Marquess of Bath's house in Berkeley
Square are easily the finest examples of the dolphin
knocker now in London.
There is a mermaid knocker at No. 25, Queen
Anne's (late ; that on the door of Mr. Asher
Wertheimer, at No. 8, Connaught Place — a circlet of
acanthus with ribbon scroll— is of chaste design. So
that, upon the whole, the taste for beautiful knockers
still exists, and may in time become a cult.
If we turn from merely artistic excellence to artistic
associations, we shall find in a tour of the London
" CARDINAL YORK
HENRY BENEDICT BLEMENS !
BORN 172S : DIED 1807
ENGRAVED IN PURE MEZZOTINT I
FROM A PAINTING BY LARGILLIEE
Bv permission of the publisher, Mr
Some Artistic Door-knockers
residential
streets stil'.
much to re
pay u
knocki
J o h i) s o n ' s
house, No. 1 7.
Gough -
that
( larlyle's house
at Chelsea, and
the knocker at
No. 10, 1 •own-
in- Street, are
disting u ished
in their history.
They have
been grasped
DICKENS KNOCKER, LATELY IN 111 1
CRAVEN STREET, STRAND ty the » ll » d S
of the greatest
men of their time. There is one knocker, lately passed
into the hands of a collector, which is declared to
have suggested a celebrated character in fiction.
The celebrated Pickens knocker, at one time on
the door of Xo. 8, Craven Street, Strand, recalls
the opening of the Christmas Carol, where S
is confronted by it on his own doorstep. He had
just arrived home through the dense fog. " Now
it is a fact," the author says, "that there was nothing
at all particular about the knocker on the door.
except that it was very large. It is also a fact that
Scrooge had seen it night and morning duril
whole residence in that place. . . . And thus lei
any man explain to me, i( he can, how it happened
that Scrooge, having his key in the lock of the door.
saw in the knocker, without its undergoing any
intermediate process of change, net a knocker, bul
Marley's face . . . like a bail lobster in a dark
cellar. It was not angry or ferocious, but looked
at Scrooge as Marley used to look, with
spectacles turned up on its ghostly forehead. 'Hie
hair was curiously stirred, as if by breath
air ; and though the eyes were wide 0]
perfectly motionless. That and its livid colour made-
it horrible : but its horror seemed to be in
the face, and beyond its control, rather than a pail
of its own expression."
Charles Dickens was a great authority i
knockers, and his novels are full of th
and etiquette of the many he describe
Ralph Nickleby visits his poor relation al Miss l.a
Creevy's house in the Strand, she tell
low the
■ in a n
where the bell
is, and tell him
mustn't
knock d
for the
e. ond
knock
when the bell's
broke, and then
it musl
of the Theatre
Royal. l)i -un-
heal policemen and play at coaches with other
people's money, and all that sort of thii
Mr. Lillyvick, with his worldly knowledge, explains
it by the one word "aristocratic.'' When poor Mr.
Kenwigs becomes a parent for the sixth time, he
sends out for "a pair of the cheapest white kid
hi ise at fourteen , lecting the
: hand one,
with an air of pomp and much
excitement, and proceeded to muffle the knob of
the Street door-knocker therein," for, as the author
says, " there are certain polite forms and
which must be observed in ■ -. I mankind
ielap.se into their original barbarism."
In Ringsgal : Street, Hi i - Mrs. dan. p.
whose street door-knocker, it will I
to wake the street with ease, and
even spread alarms of fire in Holborn without
making the smallest impression on the |
It was tliis same knocker
his heart "
applied himself to. "At tl uble-knock
dow in the street became alive with female
'.
< in the «
2 a
3 o
Old Dolls
By Mrs. F. Nevill JacKson
Realism has always been the most striking
characteristic of the inhabitants of the doll-world.
It is not given to every child to enter fully into the
joys of make-believe — a fine imagination is a heaven-
sent gift — by its alchemy, a stick with a gourd or a
turnip for a head may become a much-loved baby
doll. It is interesting to note that in elementary dulls,
which occur all over the world, the upright line and the
knob for a head are always there : as a more intricate
anatomy is added, another stick, fastened cross-wise.
indicates the shoulder-line. This holds clothes and
pendant arms and movable legs: eyes, nose, mouth,
and hair, fingers
and toes, com-
plete the evo-
lution of the
puppet in its out-
ward likeness to
a human form.
Even a sem-
blance of speech
was attempted
w hen in 1824
tent
applied for in
Paris for mechan-
ism in a doll by
means of which
noises. supposed,
by 1 ourtesy, to
be the words
Papa and -Mama,
could be made.
The apparatus
was worked 1>\
raising the doll's
right or left
arm. This action
worked little bel-
lows in its chest,
and the si Hinds
were emitted.
Though a kind
ol phonograph doll of more recent invention
a larger vocabulary, we have hitherto mercifully been
spared a popular talking doll, and realism is confined
to expression in shape and clot)
Dolls now are very much as they were in I
Roman times, when movable joints already delighted
the children : and their clothing is certainly no more
elaborate in the present day than ■
specimens we see in 11ms. : ,
dating from the Renaissance- period in I',.
or Spain.
Perhaps the finest known riod is that
belonging to
a French col-
lector. Standing
nearly 50 inches
in height, the
carving
A-ith its
l.lllghili:
and \
■ ^g^ expression, indi
hat the
.vM^^ not
.lain t<
their skill in doll-
making. This
teenth 1
and is :
The Connoisseur
DOLL WITH
3j inches
garments suited to their age and requirements as
they do now. They were dressed in small editions
of the garments worn by their elders. Even
their jewels were as sumptuous, and their lace as
elaborate, as we may see in the pictures of Holbein,
Vandyke, and other masters, who, with great
accuracy of detail, show the costume of their
i hildren as well as adults. But to return
to the " poupee du temps des Yalois" belonging to
Monsieur d'Almagne, she is dressed in white silk,
whii ii is almost completely covered with elaborate
embroideries in orange-coloured silks. The robe is
fitting, as to the bodii e, and in one with
the skirt, whirl) shows a suggestion of the boi/ffante
effect, which was to culminate in the hoop ol later
limes. Lines of gold-coloured silk lace or galon
ornament the bodice, and divide the skirt in panels.
In the eyes of the connoisseur the make of this
lace is sufficient to date the doll. The sleeves are
:1) trimmed with it ; hanging uppet sleeves
reveal richly embroidered under ones, which are
further ornamented with silk-embroidered buttons.
| - of what we should now call
ilour, togethei with the narrow purling
at the edge, is yellow with a of this
remarkable doll are richly embroidered on the cuffs
in tiny flowers and fruits ; in the centre of each cuft
is a minutely wrought medallion showing allegorical
figures. Hanging from one of her wrists is a purse,
or aiimontcre, profusely decorated in silver, and on
her right arm she bears a doll — a doll's doll in fact,
which is almost as elaborately dressed as herself.
Silver lace decorates the blue robe of this smaller
puppet. The iuste-au-corps has long hanging sleeves,
with tight under-sleeves of yellow.
These contrasting sleeves, with widely padded
shoulder pieces or puffs, are noticeable in the doll
held by Lady Arabella Stuart in the well-known
picture. The ruff of the period, with outstanding
skirts at the hem, is also shown.
So important was the sit of the skirts in the eyes
of the old doll-dressers, that various devices are
resorted to in order to gain the right effect ; the most
frequently used is the slight cage of thin split cane or
wire. 1 >olls of this period seldom have legs ; the
body is firmly fixed in the cage or crinoline, which
makes a capital stand, and spreads out the folds of
the skirt at the same time. That such figures were
real dolls and not fashion puppets is proved by their
frequent representation in the hands of children in
contemporary art.
Though old dolls are always made to dress and
undress, this want of lower limbs must have proved
The ( vnnoisseur
eminently unsatisfactory
in all " putting to bed "
games, which are so
delighted in by children.
All play being based on
mimicry, the undressing
and going to bed, the
getting up and dressing
processes, naturally bulk
largely in the games of
the little ones, and it is
a mean doll-dresser who,
to save herself trouble,
stitches the clothes on to
the body of the doll — she
deprives the owner of a
huge delight.
Whether it is because
time has dealt more
harshly with the under-
garments than with the
upper, or that dolls of old
time were dressed like the
real people with fewer and
less complicated lingerie,
certain it is that up to
the end of the eighteenth
century the under-garments of dolls are of the most
sketchy description, hoops, wires, and solid blocks
of wood taking the place of petticoats to make the
skirts stand out.
It is strange that a child frequentl) endows a
favourite doll with a temperament similar to her own.
Perhaps then- is a feeling oi pleasant justification
when a doll is punished for offences which the little
mother herself has committed, or invents ingenious
nursery crimes for the puppet which she herself
would commit, were it not for the surveillance of
authorities. It is undoubtedly to this feeling
th.it the tilting toy owes its popularity; that doll or
figure which, on account of its carefully adjusted
weight, always returns to the erect position. The
"going to bed " game is great Win with such a toy, for
the doll is naughty, and, like its little owner, rebels
at being made to lie down ; in fact, springs up again
al on, e. and has to be summarily punished.
For the origin of that doll we must search in China,
where it i generall) found made of paper or thin
'ard, and painted to represent an old man
.1 fan. So fully does religion entei into the
smallest detail ol the everyday life ol the Celestials,
that it is not surprising to find the tilling toy is
" Rise up, little Priest," or "Struck, not Falling."
'1 here is a tradition that Buddha cannot tall. This
JSk
is one of the many toys
based on ecclesiastical
practice or tradition. In
Japan the doll weighted
at the base is made to
represent the god Daruma,
and is always called by his
name. We are not aware
that this type occurs in
India ; if it does, it would
be interesting to learn to
whom its attributes were
assigned in that country,
where the rules of a com-
plicated religious ritual
dictate the simplest action
of the mother towards
the child from the hour
of its birth.
Amongst the dolls
specially made for young
children, the soft-bodied
rag-doll has always been
prime favourite — doubt-
less sticks and stones were
-.- doll with articulated wrapped in a scrap of leaf
'at 17 inches in height or hide and mothered
by the prehistoric child ; but we feel sure that the
baby's doll was always made of suitable softness,
for is it not the mother's instinct to give to her
little one only what could do him no bodily harm.
Certainly three centuries before Christ, dolls were
made of woven linen stuffed with papyrus. Such a
doll, measuring 3.I inches from crown to toe, was
found at Behnesch during the excavations in 1896.
The body is well shaped, though rather long ; the
neck not well defined : but the head is excellent, with
handsome embroidered features, well calculated to
withstand hard wear. The hair is indicated by threads
of linen. Round the waist of this extraordinary relic,
made twenty-three centuries ago, there is a neatly
fitting band of red woollen stuff, surely the earliest
known example of doll-dressing. It is, of course,
owing to the fait that the toys of children were buried
with them that this Egypto-Roman rag-doll has been
preserved. With the Greeks and Romans also this
practice prevailed, ami it is interesting to note that
though with the introduction of Christianity the old
pagan belief in the utility of such things to the dead
naturally passed away, yet so difficult is it to throw
off old customs, and so conservative are people in all
matters deeply affecting them, that the practice of
burying toys with the children was long continued
after its meaning had ceased to he an article of belief.
The Connoisseur
A Little China Village By Gertrude Crowe
Most collectors have, I suppo
"line" or hobby, but not many appear to have mad.
old English china cottages their particular cult.
These are somewhat quaint reminders of anothei
generation — when it
was considered a sign
of gentility to faint and
"languish," and spices
and pastilles were
accordingly m o r e
favoured in the drawing-
rooms of that day than
the open w i n d o w s of
our present era.
Equally, t her. ifore, it
was necessary to have
Pastille-Burners for the
use of such, and thus thes.
raison d'etre I
The better ones were made at the Rockingham
works in Yorkshire, which existed from about 1745
to 1842, and these were modelled in a line bone-ash
paste, and quite dis-
tinct in quality from
the later ones, which
the Staffordshire
potters began imitat-
ing at their different
factories about the
year 1830.
Some Pastille-
"11V,I s
little cottages had their
I'I'IV .ll-o
made at Leed8 > ' md BALMORA1 • ,.u
some — still fewer — at
Bow and Chelsea. The latter ones (like the best
Rockingham cottages) wen' generally of a delicate-
white outlined in gold, and with beautifull) modelled
flowers and foliage scrambling over the roofs and
walls in a riot of brilliant colours, while tin
"front gardens" have their flowery "plots" to cor-
respond, - etimes with the addition
kennel, 01 in the case of othei 1
in my collection a cosy fai m hou ;e n ith "d
kine
fully ch e w ing the
placid cud of pastoral
repose beside th
1
1
of the
kind (in u
I ked up
(far from its original
birthplace) on the
■• bog-deal " 1
.1 smoke-dimmi .1 [ri h 1 .bin. where it h u
found its way from
and doubl I
year," with all the attendant honors, still whispered
peasantry to the present date
with bated breath.
Pastille-
re those
modelled after such
famous buildings as
at Stratford-on-Avon
(of which 1 own a
beautiful 1 :
Ann Ha
old-world ■ n
Rosemar) for remembram e . . . and . . .
. . for thou ;hts.' I I ■.
( Castle, the name inscribed
ol amonsrst th
\KK \< KS, ETC
with it
such as
Pansies
Balmoi
■ old letters ; but I mu ;l ■
mm
■
The Connoisseur
: h %»
:\
#1
liKOUl' Ol- THREE 1' \sril I E-BURNERS AND
COTTAGE
hear much likeness to the aforesaid Royal residenc
and, in design at all events, far more resembl
the adjacent ancient keep of
Abergeldie than "the King's
own " Scottish home.
Many of the Staffordshire
Pastille-Burners were decorated
in blue and white after 1 )elft style,
and are heavier and coarser in
texture than their daintier and
older rivals, while (for more
homely use. and for those whose
pretensions did not aspire to the
burning of pastilles) one finds
the little "savings banks'' or
receptacles for night-light
shelters, but which are (naturally)
devoid of the early charm of the
g mtler specimens.
I must not omit mention of two
barracks, almost the same in colouring, and about
seven niches in height, each being guarded by a
sentinel in scarlet uniform of the Wellington period.
These a
mill-whe
TWO-STORIED
tinctly unique, as is also a mill and
h rock-bound mountain stream and a
two-storied cottage, with lichen-
covered thatch and creeper-clad
walls — a huge house-dog lying
"on watch" at the front door.
Though chiefly depicted in
summer time with gaily coloured
bloom and blossom, sometimes
(though rarely) one comes
across a china cottage covered
in snow, with the frost and
rime, robins, holly, and mistle-
toe of a wintry and Christmas
period. Very few are marked,
but some are known to bear the
marks of Spode or Walton,
while the average height is
from three to five inches, and
upwards. Rockingham ware,
however, was said to be seldom marked, and of
this (as I have stated) the better and earlier cottages
were chiefly composed.
'.
GROUP OF PASTIEI E-BURNERS
-
»S ,J% •
VO BLl l AND WHITE DELFT COTTAGES, A BARRACKS, ETC.
- ;"
m
IAt\tiqueJeve/J
Notes on Two "Lesser George" of the Order of the Garter in
the possession of His Grace the DuKe of Beaufort By Guy-
Francis Laking, M.V.O., F.S.A., Keeper of the King's Armoury
The "Lesser George" of the Garter — the
pendant formerly worn by a ribband around the neck,
but at a later date more often attached to a ribband
or scarf, and worn across the left shoulder — must not
be confused with the "Great George" of the same
Order, which is a model figure of St. George slaving
the dragon worn Suspended from th
of the on
the "Li r Geot oi ra
pendants of the Ga
Visiting Badminton sorrn no . the writer
had tb opp ■
The Connoisseur
under the able guidance of the I luchess of Beaufort.
The intimate knowledge and deep interest taken by
Her Grace in all appertaining to the family lent an
especial charm to the inspection. There were many
treasures in that line house that owe much to their
sentimental interest. These historical and family
associations were admirably described by Her Grace.
Unfortunately, as is often the case, accuracy of
making the history of the Rupert jewel more than
doubly possible and probable.
Continuing the inspection of the Badminton treasures,
an old-world cabinet arranged so as to form a show-
case was arrived at. In it were many small treasures
of varying interest, fragmentary, and in some instances
relics of the child-like collections of the youthful
Somersets of earlier generations. Hut it was among
archaeological detail at times upsets the most cherished
of family traditions, and, alas! Mich a check came
vitrine containing various badges of the
Order of the Gartei was inspected. Among other
< larter jewels the writer was shown a " Lesser ( leorge "
' i d as having been worn by Prince Rupert.
and givi n bj him to Edward, se< ond Marquess ol
i. 1 lowever, as the gold enamelled jewel
itself could not, from its style and manufacture, have
>ldei than the first years of the ninet enth
its assoi latum with Prince Ruperl was
diffii nil to bell- •. I : 1 m he "i Beauforl ai cepted
I the Rupert Carter jewel with fortitude.
however, did Her < Irai e or the writei think that
this shattered family idol would almost immediate!)
be reinstated le re at importance,
this heterogeneous collection that we came across
our treasure.
Hanging on a bent pin, in the corner of the
cupboard, by a piece of faded red ribband, was a
small oval enamelled plaque pierced and modelled
a jour with the representation of St. George and
the Dragon. It was a charming example of early
seventeenth century English enamelling. The writer
pointed it out to ller Grace as the centre of a darter
badge of very considerable importance, expressing at
the same time great regret that the setting with the
famous HON! -on iii i \i\i \ PENS! motto was
missing. Hardly had the regret been expressed than
the line gold enamelled mount came to light, laying
partly hidden beneath a quantity of small objects.
The two pieces were placed together ; they fitted
Two "Lesser George' 1 of the Order of the Garter
accurately, with the result thai i orge " of
the Order of the Garter of early date and of greatest
importance lay before us.
However, there are spots on the sun — and our find
lacked something, for the frame of the jewel had
been despoiled of the large precious stone
which it was formerly surrounded. These were doubt-
less rose diamonds, and which, for their intrinsic
value, had at some time been picked out, as in the
I
characteristic of the time, lor beyond the mitre that
holds the stone in position, additional cut card
escallop woi 11 dim nsions, also in the silver,
encircles each stone. The reverse side of this
irge" is especially beautiful, as the
mation of Si. Ceorgc and the Dragon is
ertainly earlier in style than the actual period of its
be taken lor a
Charles I. " Lesser George" in the Ro
at Windsor Castle. Once more the shatter d
tradition could be pieced together here «
Garter jewel of Prince Rupert— at least it «
tainly of his time, and might have been hi
such attributions are possible when the obj.
the period of the person to whom il is ao
But to return to the newl) d
frame is of Lighl coloured gold, the front fa*
taining the setting for twelve large stones, I"
additional pear-shaped tone al the ba
the space which on the reverse is tl
Garter strap. The suspending loop abi
set with two large stones. The -
the front face a Id an
St. George, such I i Still present on tl
ol the third quarter
ofthesixti i i
in opaque win:
re in natural trai
gold, with
1
,-i
1
The Connoisseur
the front face. These escallops are enamelled opaque
white — the one immediately below the loop for
suspension being of larger dimensions than the others,
and additionally shaded in colours to represent an
acanthus leaf, the remainder being painted with
delicate tendril scrollwork.
This type of enamelling, a white ground enriched
richness and dimensions than the first, but like it,
of English workmanship, and of the same period;
indeed, in all probability by the same hand.
Although a most careful search was made, its
centre medallion was, unfortunately, not to be found.
However, as a fragment of a Garter jewel, it had even
greater interest than the first discovered, inasmuch
as it was more robust in proportion, the enamelling
No. Y. (b).-e>
III I III FACl
ol its lime— the French Louis XIII.— and
ly eliminates any chance oi the jewel being
ol an earliei date.
The empty settings of this jewel have now been
skilfully filled with while sapphires cut in the old
rose manner, so as to accurately In and be in
charactei with the jewel the) adorn. Instead of the
missing cami o has been placed a plain plaque ol
onyx with a simply i hamfi red
3o hum h loi the first disi overy ; but n.m foi th
Before finallj < lo ing the cupboard in which
nil this disintegrate d I iarti i ji wel, a further
- d vhen behold, beneath anothei
at ■ umulation ol obji - I i the second frame ol a
'" ' lav hidden. It was oi greater
more brilliant, and, above all, it contained foui ol
the original stone's with which it was set. These
proved to be of two sorts, rubles anil diamonds
placed alternately around the front lace. Although
•lie actual si/,- o| the jewel was about the same, the
precious stonei were ol larger proportions. Theywere
origin.ilK ten in number, oval in shape, and cut in
table fashion.
The frame is executi d in pale gold, the chamfered
letting to the rubies being in that metal, whilst the
settings of the diamonds are in silver. between each
ion. is a sin. HI decorated gold bow. These bow .
on the enamelled or underface of the jewel, show-
as a series of small oval pierced panels placed I'- tw n
the escallops ol the border. The suspending loop
Two "Lesser George" of the Order of the Garter
contained a single ruby. Three rubies aw
diamond remained. On the resetting of tl
it was found that the rubies proved to be what are
termed "doublets," that is, .1 crystal stone backed
with crimson foil, laced with a thin stratum
ruby, and set together in the conventional n
In place of the missing diamonds were reset
but the rubies were added in true " double! 1
enamelled face of the jewel shows the Garter motto
somewhat more thickly lettered than iti thi
" Lesser George." The translucent enamelled
is also of a more peacock shade of blue. Th
and buckle to the darter are simply rendered. .\s
already stated the escallops round the bordei are
fewer, but of larger proportions, with a hollow oval
between each. Each escallop is enamelled white and
shaded in polychrome to represent a trepartite leaf.
As no centre could be found to this jewel, a
onyx cameo was cut with the figures of St. George
and the Dragon to occupy the empty space in the
front face of the frame. The modern cameo is nol
entirely satisfactory, but it is the best that cou
produced. The plain onyx back of th
on the reverse side of the ji wel.
To whom the second ( iarter jewel formerly 1 1 1
it is impossible to say — perhaps this and not the first
specimen described may have been the Rupert Garl t
badge — but that must remain unwritten histor)
Duchess of Beaufort makes the suggestion that as
the first Lord Glamorgan was given \\v 1,.
Charles I. in his father's lifetime, as well as his
peerage, one of these two " Lessei Geo
have been worn by him.
That these two line examples o! English seven-
teenth century goldsmith's work should h,:\ been
cast aside antOI
1 -ooiled of th.
ably in ;
o-day
orthless. theii
mall articles among which tl.
of these two jewels were found were collected many
years a. n: Duchess 01 .
the many old store cupboards at Badminton.
importance were found with
I - uter jewels, but space will not permit of their
The descriptions of the illustrations are as follows :
Xo. i., the gold and enamelled relief forming the
centre of the first "1.- 1 G
first find. No. ii.. a and />, the frame of thi
ion. This was tl ows its
c with the stones extracted ; /'. it- en
face with the Garter motto. No. hi., a and /•, the
jewel after its restoration : a, shows its front set
with white sapphires and with a plain agate back ;
/., its enamelled face with I
enamelled medallion placed back in 1
No i"-.. a and i shov I Fi
second "Li Geoi This was the third find.
a, its tu.n; I stones in
position : /'. its enamelled face with the Carter motto.
.
its front face with
also the modern cameo in
face with the Carter motto 11
The Connoisseur
Some French Pastellists
By C. Lewis Hind
Sometimes at an auction sale I have seen
small pastels, properly framed, properly discoloured,
of bright, gay faces that seem to have the secret of
perpetual fragrance and freshness ; sometimes one of
them has been called Madame de Pompadour, another
Madame Favart, and in the catalogue the ascription
has run : " By or attributed to La Tour."
Somebody has bought these charming things. I
have not, being wary, perhaps bitterly over-wary ; and
now that I have looked through and lingered over
the reproductions of the pastels by La Tour and
all the others in this book, I do not regret my
caution — the reproductions are so near to the
originals. Of all the pitfalls that yawn before the
enthusiastic but unlearned amateur, the excellence of
the modern facsimile colour reproductions is one of
the commonest. It would be so easy for a dishonest
dealer to frame properly any in this volume, to
discolour them properly, to scatter the lovely things
about the world, and to label them — by or attributed
to Rosalba Carriera, La Tour, Chardin, Boucher,
Perronneau, or Drouais. One is almost inclined to
remove the La Tours from the pages to which they
are affixed, and to take them for comparison and
education to that shrine of the pastel. Saint Quentin,
in northern France, where " La Tour's sketches
hang upon the walls to give a hint of the man's
splendid achievement."
What a splendid achievement it was — within its
limits perfect ' La Tour is the name that rises to
the lips at the mention of the French pastellists of
the eighteenth century. He was the sun around
which the others revolved, and when he died in
17.S.S, with him, "with this Maurice Quentin de la
Tour passed away the pastel of the great age in
1 lci ' Others came afterwards, that is, after the
cataclysm of the Revolution which La Tour (he was
mad in his latter years) just escaped. There was
Prud'hon for example, and to-day the pastellists are
;ion bul France lias only one l.a Tour. He is
1 > outstanding, .is significant as Turner in water-
colour.
I hal I . i Tour stands alone, unrivalled, is self-
videnl from the reproduction - in tin-, book, and
Mr. I [aldane Macfall m 1 ol the idolatry
he I11 ■ for I >iderot's Magician. I envy the enjoyment
- .1I1 inn ,1 have had in compo ting the text. It
was a subj.-ct entirely to his taste, and his enthusiasm
Ei
ane Macfall, with fifty-two illustration . 1 Ma
carries him forward breathlessly from the first page to
the last. He runs, he leaps, he dances, he twists,
he turns, he smiles. The sparkle of the period has
captured him : he does everything except write plain,
bald prose. It is very captivating for a time, a long
time, and the short chapters that jump from subject
to subject, like a bird hopping from twig to twig, are
no doubt in keeping with the tripping art of the
pastellists. Mr. Macfall's pen ranges beyond his
theme : in effect his book is an interpretation of the
social and art history of France from 1700, "the
setting of King Sun " — which is the Macfallian way of
describing the last years of Louis the Fourteenth —
to that awful engulfment of art and all else in the
Revolution, when "the reputation of La Tour went
down in the great flood, together with those of
Boucher and Fragonard, Chardin and Greuze, and
tin- rest of the goodly company."
" Thereafter a vast silence." In 181 1 twenty-five
ol l.a Tour's sketches were sold, with forty drawings
by La Rue, in one lot at auction ; in 1S26 his portrait
ot Crcbil/on pert was knocked down for thirty francs,
and as late as 1 <S 7 3 the two sketches for Silvestre
and Dumont le Romain brought no more than three
hundred francs. To-day— well try to buy a pastel by
La Tour at the Hotel Drouot — and now there is this
book, to the honour and glory of La Tour and his
fellow pastellists, so fascinating, so new, so different
from the ordinary colour-book. One wonders why
the subject was never treated before.
How did the pastel come to France? Mr. Macfall,
in his picturesque way. makes that quite clear. It
rame in the satchel of that Venetian lady, Rosalba
Carriera, the brilliant and popular Rosalba, admired
by collectors and amateurs, who arrived in Paris in
1 -20, when La Tour was sixteen years of age, bringing
with her " in a satchel sundry coloured chalks, which
were soon to be known throughout all France as
'pastels.'" Rosalba, although she stayed but a year
in Tans, her. Hue the vogue, and pastels the rage.
From Court to Court she travelled, and everybody
who was anybody had to be pastelled by Rosalba.
1 II course she was not the first by any means to work
in coloured chalks. 'The names of Holbein, Largilliere
and Watteau al one- occur, but she made tli'' pastel
portrait the fashion, ami turned the eyes Ol the young
I, a 'Tour, the young Toucher, and the young Perron-
neau towards it. Very alluring, very attractive must
the pastels ol Rosalba have seemed to light-hearted,
sedan-chair Paris in those early years ol the reign ol
Louis the Fifteenth. Tut hei Girl with the Monkey,
STUDV OF A HEAD
BY FRANCOIS BOUCHER
From ■• French Pastcll'ists oj the IStli Centur
Published by Messrs. MacmUUm i
Some French Pastellists
reproduced in this volume, is little more than [
with no hint of the incisiveness iro the deep know-
ledge underlying the charm of presentation that was
to make the pastel, in the hands ol La Tour, so fitting,
so final a vehicle for the expression of his tempi
Surely in the history of art rarely has a man
his metier so completely as did La Tour in tin
heads and busts he produced, not easily, one might
almost say with agony. When he essayed a full-
length figure, as in his famous pastel of La Pompadour.
l\ ft. high by 4 ft. wide, the interest becomes
scattered, and although there is no fault to be found
with the drawing, we miss the vivid and direel
characterisation of his less pretentious work. The
delicacy of his 'Pic Penchee, the strength of his
Chardin, the gamin-like knowingness of his Madame
Favart, the sweetness-out-of-strength that marks his
Mademoiselle Puvigny and La Camargo, the brilliant
forcefulness of The Dauphin — these are essential
La Tour far beyond anything that Rosalba or am
of his contemporaries, except, perhaps, Chardin,
could have done. One may be inclined to call these
heads slight : but as much effort, sincerity, and con-
centration went to the making of them as to man}
of the world's great portraits. Slight as La Tour's
heads may seem, they were produced in no slight
mood : they represent real, downright work, not
interludes in a working day. Maneite, the art col-
lector, has left on record the seventy of La Tour's
self-criticism, and his discontent with his efforts. He
destroyed much; he tormented himself about the
quality of his craftsmanship; and he tormented his
sitters with his moods. He was restless, nervous,
irritated, discontented with his achieve,,,- nt
eager for praise; and he hated criticism— and out
of all this, this volcano of disquietude, can
lovely things-heads so slight and fragile that it
seeim almost as if a breath will blow them a«
spirituel faces, ton, bed in, as Reinach says
colours like the dust on tin
Such a head is that of Mademoiselle Fel, "a little
young woman, not at all pretty," as I
in the report of the inspector of police.
This singer, about whom men went mad, who was
of bull
La Toui ompanion, loving a
lives today, charming and enigmatic
pastel i n. I turn from hei I
pien me " alism i I lire, the first
La Tour that - id published,
and then back to the " seductive Fel," the kind and
faithful Fel, who humo n da < in his
brilliant days, and wat< hed i
in the dai
Fel, are too poignantly aliv, to be companio
brained together they would give to the room in
which they hung the air of being haunted. The vision
of Mam ice Quentin de la Tour was so intense that
he becomes almost a
I t i s o the 1 nlliant
but unequal Perronneau, whos
Hundred Portraits ot Women" exhibition in Paris
last spring proclaimed him a nee' r. Hei
with an ineffably pretty pan of ia blue
dress, each nursing a cat im Bo
was all things to all men. with a S ■
elegant, charming, superficial, th aco
Boucher, who has survived the stinging cril
Grimm ; and here are all the others, the a
portrait ol Chardin by himself. His past
aside; he did not mind tie I i "mt. which
nauseated La Tour.
La lour ! It was inevitable thi t I
to him, to th la o ■ "
sad re.n '
In his dei line, before hi ray, he was
tortured by the desire to find a means to make
pastel i" rmanent. He exp trin
laboured, " onlj to di ro
t h ■ most exquisite work ol hi Hie secret v
discovi I- d, but not by him. In tl
turned ■■■"• °' ! lthl : ,; ; " ,ver of his
art left him : he had visio »'orld I
like Turner lie planned ch
t r0 v, to di ■ ntangli his ideas about
i, ot Voltaii
But all this is out
N©TES A,,,P QU£RI^
[The Editor invites the assistance of readers oj
Iim Connoisseur Magazine who may be able to
impart the information required by Correspondents.}
Portrait Group signed Hen. JV.
; Dear Sir,— I enclose a photograph of one of the
pictures at The Great House, North Nibley, Dursley,
Gloucestershire. It is of Baptist Noel, 4th Earl of
Passing on left ot picture, foreground, a young lady
running away with hands raised in alarm ; behind her
another lady starting back terrified ; a basket of violets
on the ground, and close to it a large snake. Middle
distance, a large mansion surrounded by a river, in
which is an island with a summer-house ; a bridge
over the river. Far distance, a river sparkling in the
sun, with a mountain : the whole full of sunshine.
Gainsborough, the Countess ol Gainsborough, and the
the left-
,-. and a
Can any
ladies Elizabeth, Jane, and Juliana Noel. Ii
hand bottom corner is a signature Hen. _
surname I cannot decipher, with the date 1737.
ol your readers identify the artist?
Yours faithfully,
\V. F. X
LOI All IN 'i! \ 1'ICl URE.
Sir, Can anyone tell me where the following picture
is?— Foreground, right <>! picture, watei falling from a
pipe mi ulai basin ; underneath large tier.
..,': woman sitting, he with his arm round her
rig up a warning finger; above, an ale-
house, with .1 girl tnd a fat woman pouring
wine into a glass, man on a white horse ■ coa
About thirty years ago I saw a print 01 this picture,
,,n.l the man writing about it said it was by Rubens—
or was it Rembrandt?— and said he could make nothing
of the whole thing. I think it is very easy; it is a
lesson u> lly from temptation. I got an old picture
so black with smoke I could make nothing of it, so
when I was unwell 1 amused myself by rubbing off
the varnish, and was astonished by the result. It is,
ot course, a copy.
I am, yours faithfully,
I'm is. P. TuCKEY.
Hi; 'WINGS BY PAUL SANDBY.
Dear Sir, 1 should be glad to know whether
any readers have Mime across for sale the original
drawings, bv Paul Sandby, of Warwick Castle, of which
246
Notes and Qnerie.
CHRIST FEED1!
there are four or
five prints from
which the prints
must have been
done.
I am, Sir, faith-
fully yours,
Sidney Gre-
i'mi'i ntified
Country
Hoi -i
1 )i \i: Sir, A
friend visiting my
house a feu* days
ago, on procuring
The Connois-
seur Magazine
of July, 1909, ob-
served therein an
illustration of a
country mansion and the letter of E. G. Leggatt to you.
The observer recognised the illustration as that from
a large oil-painting seen some few days previously at
■the residence of a lady whose husband, since deceased,
resided. The painting represents
" Marchwick Hall."
If this, my note, is sufficiently
interesting to vour correspondent,
I can get, perhaps, some informa-
tion as to the location of the man-
sion if he will write me.
Yours faithfully,
H. TUTHI1 1..
I'MDKMii 11 i> Portrait of
Lady.
(Dr. T. YV. Shepherd.
1 ) 1 \ 1: Si R,— The pose and
general treatment of thi
(lady suggests to me the work of
Adrian 1 laneinann, who, like Peter
Lely, painted for a g 1 many
years in England, and who, like
Lely, was under the direct in-
fluence of Van Dyck's style. It
will be a difficult task to identify
the portrait. I think his work is
scarce, and, unless my memory is
at fault, I have seen a few of them only in tin
Brunswii k all unidentified.
Lily, E. Si 1
.. c HR] .1 f i 1 DING nil M
••The \\
■indly help me I
la,.
r thirty
brother, n
it about
e a is be-
. and he
purchased it from
a capta
trailing vessel,
nght it
iples. It
was then in a torn
condition, and in
a very p 1 a i n
broken fra
■ picture-
cleaner.
it was of the
eenth cen-
tury. He put it
1 UDE
1 n r e p a
now is, but would not touch the centre or figun
the colours are not available at the present day. 1
am thinking it may be by sonic old Italian painter, so
would like to know who, and its value.
Tin- smaller picture, -abject The
Monty-.', ft, 1 ft. 7 in.
by 1 tt. 1 m., 1 bo
hand -hop. and would like to know
the .11 11 -I ,0
Yours truly,
M. V. Stephens.
Antique Sword.
Dear :
■
Mr. Hei berl 1
.1 may
say that I think it very unlikely
that he « 1 in any-
bei of ibout the
middle of tl
• 1 a it of King
Charles Land
basket-h
in memory
Portrait of
a Gosshawk
This portrait of a Gosshawk is taken from an oil
painting on a panel of stout mahogany, measuring
21 in. by 17 in. An inscription on
the top left hand corner reads : " Falco
Palumbarius : Linnaeus. This 'Goss-
hawk' Came From ( iermany in [857, When he Became
The Property of Sir Charles Domvile, and Was Trained
to Fly at Hares, Rabbits & Pheasants by Capt.
Salvin: He Dislocated His Wing, and Was Destroyed
in 1864 at Santry."
Santry is neai
Dublin.
I have not been
able to disi ovei
the name of the
artist, but a refer-
ence to Capt.
Salvin. who trained
this bird, will not
be out of place.
Capt. Salvin, who
died in 1904, in
his 87th year, was
di voted to field
sports ; he wis an
authority on the
subject of falconry
in this country, and
had long practice
in this sport, so
1 hat Sir ('has.
Domvile 1 ould
have placed
I in any
better hands for
training. Capt.
ivas joint
authoi <ii two
I "H Ins fa\
ourite subji • t, \ iz.,
<y in the
British M
and Falconry: its History, Claims and Practice, 1857.
The training of Cormorants for fishing was also a
sport in which Capt. Salvin distinguished himself. —
Wm. II. Patterson.
Holbein's "Duchess of Milan"
The final payment having been made for the pur-
chase of Holbein's Duchess of Milan, the National
Art Collections Fund officially presented this picture
to the trustees of
the National Gal-
lery as a gift to the
nation on Novem-
ber Qth. In selec-
ting this dale, the
c o m m i 1 1 e e con-
sidered the King's
birthday a fitting
opportunity foi
making the pre-
sentation in rei og-
nition of His Ma-
jesty's gracious act
in founding the
Special Reserve
fund. In making
ment the Execu
tive Committee
and the members
of the fund thank
all those who have
conti ibuted tosave
this picture for
^{,'40,000. who so
generousl) plai ed
that sum at their
disposal.
Notes
THE ENCHANTED ISLAND
The mezzotint here reproduced is by (i. H. Phillips,
from a picture painted by F. Danby, A.R.A., and is
,i beautiful rendering into black and
The Enchanted whke Qf a|) i(Jea] , m(1 [)()L , t|e , an(| _
scape bathed in sunshine.
Danby was an Irishman, burn near \\ exford in i 793.
In 1825 he was elected an A.R.A., but fivi
later he had a quarrel with that body, and left for
Switzerland, where he almost gave up art and tool; to
boat building and yachting. Eleven years later he-
returned and painted seriously until his death in 1861.
THOUGH the avowed object is to deal with the
he museums, churches, and collections
in Belgium, the illustrations to M.
Fierens-Gevaert's second volume of
Lti Primitifs Flamands include such
exceptions as the famous Memlinc in
the Duke of Devonshire's collection,
and the l'ortinari altarpiece in the
Uffizi at Florence. These exceptions
might, perhaps, have been augmented
with advantage, for the omission ol
ortant pictures now outside Belgium pre-
o cne student serious difficulty in comparative
study. Thus it would have been advisable, 111 the
absen , any authentic works by Justus ol Ghent
i n the I- Igian collections, to give reproductions of
paintings m
Les Primitifs
Flamands
Vol. II.
By Fierens-
Gevaert
(Van
Oest & Co.,
Brussels)
12 frs.
many
the famous portraits in the Barbarini Palai
ascribed to Melozzo da Forli, ami The Last Supper in
the Urbino Gallery. For the scholarly manner in
which he deals with the better-known masters we have
nothing but admiration, but we regret that he has not
devoted more space to the li sei known men. I
less than two pages to such a man as Adi ien 1
is quite inadequate, bul the discussion ol works by
such little known painters is the J
Sang, km van Eeckele, and Ambrosius Benson, adds
to the undoubted interest of the look. M. I r n ns
Gevaert has little to add to thi
M. von Bodenhausen in the mattei ol Gerard David.
a new interest, however, in pointing out
the influence ol Hugo van dei G
upon his Flemish 1 onti mpoi
but through the Portinari all 1 the Uffizi
upon Ghirlandajo and L01
I ram e upon the Maitre des M01
have on. n been attributed to Hi
ductions throughout are ol exi
The book ol psalms illustrati d hi
:
Meeter 1 I
A Stuart Book w Whittingham,
of Psalms sened wi|
m withal. N
The Connoisseur
allowed to be sung in all Churches of all the people
together before and after Morning and Evening
prayers, and also before and after Sermons. More-
over, in private houses their godly solace and comfort:
Lying apart all ungodly songs and ballads which may
tend only to the committing of vices and corruptions
of youth."
The volume was published in London " imprinted
for the Company of Stationers" in 1627. The
Stuart needlework cover of this volume is very
the design is worked
The heart has once been red, but
and the
elaborate. The arch
silver thread
now faded
crown in which the
heart rests was once
salmon colour picked
out with silver. The
ground-work i s cream,
and the flowers and
other portions of the
design are yellow and
green and blue. It is
not difficult to see the
meaning of a heart and
a crown surmounted by
arising sun in a binding
of middle Stuart days
lovingly worked with
the needle. Although
the book was printed in
1627, the binding is
evidently of a later date,
as an insi ription written
on the fly-leaf indicates :
"Ann Hamilton given me b\ Her Grace the Duchess
of Hamilton." Unfortunately, no date is attached. In
all probability "Ann Hamilton" may have received
ih'' book from her aunt the first Duchess. (There
was no Duke of Hamilton when the book was
printed, and consequently no Duchess.) She, the
Lady Ann, was born in [636, and s :eded to lli>-
title when thirteen years of age; she is still known
as " lb- good I >ui hess Ann."
There does not appeal to be any ol the 1 abalistii
si^ns on this cover whii h are often found in Stuart
needlework designs associated with royalty, or having,
as undoubtedly this cover has, strong royalistic
symbolism, and probabl) worked shortly after the
Stuarts weir driven into exile. Smart stamp pictures
ain animal - an,] bird : freelj used symbolically.
rpillai .mil butterflj usuallj accompanj ru edL
work portraits ol ( harli ; I., ju n a \ th inn, orn was
the devii e ol his rather lame, I. It ma j not be
unlikely that the portions ol the design in the form
STUART HOOK OF PSA
of an arch may be intended to suggest the caterpillar.
In designs of an amateur nature such as this, where
touches of loyalty to the unfortunate royal house were
worked into a piece ol needlework, it is not easy to
read aright what the gentle needlewoman may have
intended.— A. H.
Allgemeines Lexicon der Bildenden Kunstler
Edited by Dr. U. Thieme and Dr. Felix Becker
(W. Engelmann, Leipzig) Vol. II. 32 Mk.
The second volume of Mr. Wilhelm Engelmann's
stupendous Dictionary of Artists, published at Leipzig,
deals in 600 pages with
the names from Antonio
da Monza t o Bassan,
and it is to be feared
that the editors' laud-
able thoroughness and
their conscientious in-
clusion of every artist's
name on record, will
somewhat overshoot the
mark and result in a
work of such unwieldy
dimensions as to make
it prohibitive for the
private student, to
whose library shelves
certain limits are at-
tached. It is simply
appalling to think how
many volumes will be
needed to carry this dic-
tionary t o completion,
when the two formidable tomes that have so far
been issued do not take us beyond Ba. And it is
a sad reflection, too, for some of us, that at the
present rate of progress we may never be allowed
to see the completion of this work, the editors
having set themselves indeed a task of enormous
difficulty. The real object of a reference book of
this nature being not so much the recording the
life and art of famous artists who are adequately
dealt with in many other books of less extensive
scope, but rather the inclusion of comparatively
obscure aitists about whom it is more difficult to
get reliable information, it is naturally exceedingly
difficult to know where to diaw the line. In the
presenl < ase an endeavoui seems to have been made
to covet the ground so completely that the name ol
1 vi i\ .1 1n.1t . in ladj miniature painter who has had
the good fortune to have one of her attempts at
portraiture accepted by the Royal Academy figures
in the list. On the other hand, there are omissions
<l- I ■ Ol EU'liUK CCA
Notes
IEWS OF RARE
of artists of well-established reputation. To take an
instance at random we find under the name of
Atwood three references, one to an American
architect, the second to an American wood eni
and the third to an obscure English eighteenth-
century flower painter. But there is no mention of
Miss Clare Atwood, one of the most personal and
competent lady painters of the present generation.
Nor do we find among the many amateurs who the
editors have seen fit to mention the name of General
Baden Powell, who is not only a frequent exhibitor
at our art shows and an active member of at least
one artists' society, but whose work has become
known to a large section of the public through
reproductions of his war sketches
in books and periodicals. But
it would be ungracious to grum-
ble at the comparatively rare
faults of omission and other
shortcomings in a publication ol
such comprehensive magnitude.
The thoroughness with which
the editors have carried on their
investigation may be gathered
from the fact that no fewer
than forty -one references will
be found under the heading
Aubert.
There is a very mi. re tin;
history attached to the jug we
A R re illustrate. W is
Wedgwood in the possession
Jug of Mr. Arthur
Asian ait] rid v specialh
made for his great-grandfather,
: irrey, in [791, in 1 in umstances whi< h
gn .1 11 1 onal touch to this sp 1
I 11 1 ;i ale jug witli its inscription, "God
the Plough ' and "Success to the Grain returned."
and the sheaf of wheat, and the plough, and harrow,
and scythe, and sickle, and other agricultural imple-
ments.
The farm at the back in the design was
Ridge Farm, near Cheadle, in Staffordshire, and
Josiah Wedgwi od, always delicate in health, used
to spend sour time thi 1
during one ol his \ isits I
reproduction on this jug which he had made on
to Etruria, nted it to his host,
\\ illiam Mum
Four
.1 f t e 1
; 1 .: i- typical
of many of the jugs and mugs
being made in Staffordshire
about thai date. I
the inscriptions a
quaint touch of humour ;
v appeal to
1
English
might I
1
The Connoisseur
These two handsome volumes, edited by Mr. Leman
T. Hare, will replace all guides to the National Gallery
heretofore given to the public. The
"The National publishers showed brilliant enter-
Gallery," by p r j se ; n applying modern colour-
Paul G. Konody, process to their valuable book, and
Maurice W. as mar ked acuteness in the selection
Brockwell, and o( - t , le aut hors, whose names stand
F. W. Lippman fo| . accuracv and research. The
(too Plates in (ask wag nQ easy Qne Mr _ Har£ .. s
° °!' r , , . selection of the hundred plates dis-
Published in 17 , , ... , ,,
„ paved (on-.tiiniii.ite skill; and the
Parts at is. ' • r ,
„ , , . production of them tor so cheap a
Complete in 2 ' .
Volumes, by work is astonishing. 1 he author.
Mes
s. T. C.
,iad
cover a large field ; and
and E. C. Jack) were snia " tribute to say that they
have done their work well — they
have done it astoundingly well. The wide acreage of
the field they had to till left them scant range for the
picturesque description of all the artists and their works.
They wisely concentrated their strength upon giving in
concise, brisk, and readable form the results of the
latest researches of the very searching criticism that has
been applied here and abroad to the art achievement
of the past. It fell by chance that 1 needed a sound
reference book upon the Italian, flemish, German and
Dutch schools for a book upon which I was engaged
at the time that the first nine or ten parts had been
published.
I found this work the soundest and most accurate in
every detail — every recent attribution, query, date, and
biographic discovery recorded in scholarly fashion that
saved me an enormous mass of verification and of
research. 1 can imagine no severer test ; 1 know no
higher praise. These two volumes are simply invaluable.
They supersede all previous guides to the national
collection — and they do so in an interesting manner that
makes for pleasant reading. Not only do we get tin-
latest discoveries as to artists and their works, but the
sizes of the pictures are recorded, details as to whether
they are painted on canvas or panel, and the latest
expert opinions.
It uric ungrai mus to point out occasional flaws of
style in so excellent a work ; the only serious blemish is
the placing of the plates away from the text concerning
them. The advantage in having the illustrations that
render a fair idea oi the colour of the originals is
prod gious; and when it is added that in many of the
plates the very technique of the brushing can be seen, it
makes one marvel that the book can be produced at the
price. These two volumes must of necessity be on the
bookshelves of every artist and student, to say nothing
ol every library. The book not only supersedes all
previous guides to the national collection- it is likely to
hold its supreme position for many a long day to come.
The publishers are to be congratulated upon their
ourage ; the) are 1 ei tain to reap a rich reward.
Portraits by John Russell, of varying merit,
usually in coloured crayons, are to be found in London
at the National Portrait Gallery,
T° hn V;"« ■ the Linnean Society, the Garrick
Loan Collection ,,, , , , , „ t ...
, _ Club, and elsewhere. But no living
at the Craves
„ ,, . person has ever seen such a range
Galleries , . . , . , • ,
of his productions as the varied
collection now on view at the Graves Galleries. No
fewer than fifty-four examples have been collected by
the enterprising proprietors for this loan exhibition of
John Russell's works. A few are in oil, all the rest in
coloured crayon, the medium in which Russell usually
worked. He appears to have formed his style of
"crayon painting" on that of Rosalba Camera, the
brilliant Italian pastellist, who visited Paris early in
the eighteenth century, and by her success induced
La Tour and Boucher to turn their attention to pastel.
No one will say that John Russell was the equal of
La Tour, whose pastel heads at St. Quentin and the
Louvre are sign-marked with genius; but Russell was
a very capable artist, sometimes rising to a high degree
of excellence. Occasionally, as in his Mrs. Meyrick, lent
to the loan collection by Mrs. Mason, Lady Winterton,
lent by Major Younger, and John Huron, R.A., lent by
Mr. II. V. Bacon, he produced portraits worthy to rank
with the average work of the eighteenth-century masters.
His technique was often a little haul, and he was so
prolific a worker that he was not always at his best ;
but he could be very charming when he had a subject
that touched his fancy, such as Two Girls in Mob
Caps, one weeping the other consoling tier, lent by Mr.
John Lane. It is said that he commanded about the
same prices as Sir Joshua Reynolds, and we can well
believe that this remarkable collection of his works will
create a new interest in John Russell, and enhance his
present-day prices. Born in 1745, ,ie was at an earl >'
age apprenticed to Francis Cotes. His religious views,
which were intense and narrow, coloured all his life, and
to a large extent directed his choice of sitters. His
"conversion" to Methodism, as he records in his diary,
took place "at about half an hour after seven in the
evening of 30 Sept., 1764." He was a constant exhibitor
at the Royal Academy from 1769 to 1805, the year of his
death, and produced between seven and eight hundred
portraits, many of which are lost or destroyed. The
present exhibition is of great interest, as it enables the
student of eighteenth-century portraiture to form a clear
opinion of the achievement of this popular lesser master.
English Furniture ,ui,/ Decoration, by Mr. Ellwood,
is the title of an important work just
Old English p ub ii s hed by Mr. P. T. Batsford, which
Furniture and
ill be the subject of an extended
review in our next number. The same
In in has also jusl published Mo, inn
Cabinet U'or/: by Wells and Hooper.
Modern
Cabinet Work
Notes
This thin quarto volume, simply written and full of
information, should be in the possession of all who
make a study of old oak furniture in
oak was born
out of the church, and carving of the
stone-work forestalls the carving of the
wood. Here we see on the old black
Tournai fonts the grape or vil
and other decorations so typical of the
oak chests and the like furnishments that were spread
throughout the English homes when the Reforn
broke up the churches and created the home. Mr. Eden
Black Tournai
Fonts in
England
By Cecil H.
Eden
(Elliot Stock)
uf and Mr. Edg
. And
it may be that, in the e, when he has
increased his strength and reai le may
come nearer to the genius of Beardsley and Si
He already on « i lose on
thru hi
in his Introduction we havi deal, for every
iph ol si is at best a hall ti qualifi-
cation where it does not deserve the sledge-hammer of
frank repudiation. This book, in the years to erne, will
be sought aftei by collectors of black-and-white.
FONT IN THE CHURCH OF ST. MARY UOL'KNF I- ROM
rids the subject of all dryness, and his sound informa-
tion makes accessible the researches of Mean Kitchen
and Mr. Romilly Allen, which must otherwi
in difficult places.
This large handsomely produced volume contains a
phase of the work of a morbid artist who thr<
a genius. What can be done fi i
the publisher has dom I
and the atmosphere ol
e the spirit and style of the 'n
perhaps the supreme period of Engl
illustration. Here we are back again into tl
imaginative decade that gave us Beardsley and Phil
May and E. J. Sullivan— ami.
behind them. Kicketts and Housman, the
link with the "men of the 'sixties." Mr.
Mr. Ricketts and Mr. Housman, lacks thi
!
K)
A Book of
Satyrs
By A. O. Spa
(John Lane)
pathy with
rising the
publication, in which the
each part are
is no fault to I
The World's
Great Pictures
(Cassell & Co.
Twelve parts
at 7d. net)
that monumenl I
well Chart, it «
ndexed
The Connoisseur
The fine show of Wedgwood ware at the Exhibition
in Conduit Street has attracted the notice of all con-
noisseurs and collectors. To those of
e exclusive taste, whose study of old
Wedgwood Wed d has been confined to the
Exhibition ', ,
superlative jasper ware in vases and
classic plaques and portrait medallions, the cream ware
here shown has come as a revelation. The novel shapes
and designs which "old Josiah"
introduced into Staffordshire
in his ware intended for every-
day use are as remarkable as
they are original. Their like
had not been seen before in
earthenware, and the porcelain
of the old English china fac-
tories contemporary with the
great potter cannot show finer
designs than were turned out
at Etruria from 1760- 1790.
The colours of Worcester, of
Derby, of Chelsea, of Bow, and of Plymouth have
rightly won the admiration of connoisseurs ; but eliminate
the colour, and where is there a brace of teapots as
symmetrically beautiful as Nos. 23 and 25 in the
Wedgwood catalogue. These models from the Etruria
Museum of the cream colour "bisque" exhibit a strength
and purity of design that compel attention. The pear-
wood models for fine griffin candelabrum, for soup
tureen and ladle, and for fruit bowl are new and
surprising facts for the expert to ponder over. Together
with the trays of experiments they prove the "infinite
capacity for taking pains" of our "English Palissy."
Fashionable folk, the descendants of families who, in
1774, were proud to see
their mansions and their
parks depicted on the
great Catherine II. ser-
vice, have been extremely
interested in the selection
of specimens lent to this
Exhibition by His Im-
perial Majesty the Em-
peror of Russia. T h e
find oi this service by
Dr. G. C. Williamson is
one of the mos t talked
of events of the year, and
the authentic history, and a description of its views, are for
the in it time made public in his volume on the subject.
The illustrated catalogue of the Wedgwood Exhibition
has a brimstone yellow cover and oak leaf design, sym-
bolic of this cream ware, and with over sixty illustration,,
is a pleasing souvenir of the Record of a Hundred and
Fifty Years' Work of Messrs. Josiah Wedgwood & Sons.
oi English earthenware will rind on the shelves of
this exhibition much that is new and helpful in forming
maturer judgment in collecting. Happily, too, as the
kilful results of the work of to-day clearly show, the
firm has lost none of its old traditions. The much
art. Callot was born
Duchy of Lorraine, ir
,'liOI.WOOI)
admired borders from the design books of Flaxman and
his contemporaries are still being painted on the dinner
and tea ware to-day. Five generations of unbroken
artistic achievement is a glorious record. — A. H.
"Jacques Callot." By H. Nasse (Klinkhardt and
Biermann, Leipzig. 10 Mk.)
It was an excellent idea on the part of Messrs. Klink-
hardt & Biermann to start
their handsome new series on
the great masters of graphic
art with a volume on Jacques
Callot, who, in a time when
French national genius
seemed to be entirely
eclipsed by the Italian
eclectic influences fostered
by the School of Fontaine-
bleau, remained almost
the only notable repre-
sentative of autochthonous
t Nancy, the capital of the
1592. He was in Rome in
1608, and acquired the art of drawing from Tempesta,
and the technique of the burin from his compatriot
Thomassin.
In 1629 he was called to Paris by Louis XIII., for
whom he executed some plates of the siege of La
Rochelle. The death of his father caused him to return
to Nancy in 1630. When that city was taken by
Louis XIII., he refused to commemorate the event
with his etching needle, as he would not "do anything
against the honour of his prince and country." He
died on March 24th, 1635.
Various pictures in
private collections are
ascribed to Callot, but
modern criticism does
not admit his author-
ship of any of their num-
ber. Indeed, it is ques-
tionable whether he ever
devoted himself to paint-
ing, and his immortal
fame rests entirely upon
his etched and engraved
work, and upon his
wonderful sketches at the
Louvre, the Albertina, and the Uffizi Gallery. His
name is generally identified with his phantastic and
humorously-imaginative invention of monsters and cari-
catures of humanity. But a more important phase of
his art is the faithful record he has left of his own
time in his brilliant series of cripples, dancers, beggars,
and tournaments. Mr. Hermann Nasse's critical study
of Callot's work is most illuminating ; and the pub-
lishers must be congratulated upon the admirable
quality of the facsimile reproductions, among which
they have wisely included many of Callot's original
drawings.
Notes
'' !I frontispiece to the present number, Lad)
Langham, by Charles Wilkin, after Hoppner,
Our Plates ot the most ' m P ortant «'orks of that
eminent stipple engraver. [1 forms
one of a series published under the title /
Series of Portraits of Ladies of Rank and /
Hoppner was associated with Wilkin in this ven ,
but ultimately Wilkin took the er
the publication.
Wilkin is also well Irnrtwn
e respon ibilitj
the engravei
Til
mm
SSI
P
X MS SIS PF
Cornelia and
her Children
and Master
Ho a re, both
after Reynolds.
An excep-
tionally rare
colour-print is
Le Faucon, and
some do u b t
exists as to its
painter and en-
graver. It is,
however, gener-
ally believed to
be the work of
the engraver
Demarteau,
after Huet.
An excellent
example o f
m oder n e n-
graving is to be
found in the portrait of Cardinal York, which we
reproduce in this number. It is from a print engravi d
in pure mezzotint by Alfred J. Skrimshire from the
painting by Largilliere, and makes a fitting pendanl
to the same engraver's portrait of Prince •
Edward published some time ago.
The Head of Christ, by Quentin Matsys, which
originally appeared in The Connoisseur Maga i
for June, 1005, is presented loose with this numbel
in response to numerous requests from readei who
wished to frame the subject.
The print on the cover of the present number 1
perhaps the most famous of .ill golfing prints, being
the work ol that famous master Valentine Green, after
Lemuel Abbott.
e feature in the great West End thoroughl
ne addition to the charms of this famous street
beinjr ( i uc to Mr. A. I.. Humphreys, the present head of
the firm. Many famous persona]
the voli a ild, so invitingly displaye
the Duke
oi Wellin on, Ma
called ; while the Countess of Blessington and Fanny
Kemble are only two ol ent members of
the fail sex who penl 1 pli n this attractive
and interesting shop.
Messrs.
ShepherdBros.'
Exhibition
THE winter
e x h i h ; I
earlyBritish and
modern masters
at Messrs. Shep-
full ot ;
though many ol
1 1 5 shown
are by no means
important ex-
T h e y
often interest
the earlier work
of the
Included in the
exhibition are
works by Key
nolds, Romney,
Gainsborough, and Hoppnei ai igst the older masters,
whilst the modern school include
work ofT. Sidi ' ! '
and Vicat >
i. ' 1 ■• PICCAD1L1 :
J. Skrinishir*
A New
Mezzotint
in Colour
Founded
to No-.. 190
: 797 at 173, Piccadilly, ami lal
d 1S7 in the same tho
business of Hatchards, the well known
Hatchards'" and world .f amea |
een re transferred to No. 187. The new
hich is really a very old shop front n
i that eminent n odi rn mez otinter, Alfred
win -<■ fine plan Charles
Edward reproduced in our number for
June, 1905, and that ol Cardinal York
in our present number, are well known
to our read
by his tine mezzotint of Mrs. SI
borough a limited issue ol whi< h ha
by Mi. W. M. Powi
1
this charming punt 1- worth
■ fair dame.
The issue is limited to tw
Special Notice
Enquiries should be made upon the coupon
which will be found in the advertisement pages. While,
owing to our enormous correspondence and the fact
that every number of The Connoisseur Magazine
is printed a month in advance, it is impossible for us
to guarantee in every case a prompt reply in these
columns, an immediate reply will be sent by post to
all readers who desire it, upon payment of a nominal
fee. Expert opinions and valuations can be supplied
when objects are sent to our offices for inspection,
and, where necessary, arrangements can be made for
an expert to examine single objects and collections
in the country, and give advice, the fee in all cases
to be arranged beforehand. Objects sent to us may
be insured whilst they are in our possession, at a
moderate cost. All communications and goods should
be addressed to the " Manager of Enquiry Dept.,
The Connoisseur Magazine, 95, Temple Chambers,
Temple Avenue, E.C."
ANSWERS TO CORRESPONDENTS
Arms. — Cavalry Sword. — A 1,864 (Sail
-The sword of which you send sketch dates .
id its value is about 7s. 6.i.
■ihn, N.B.).
it 1815-20,
Hooks. — "Recherches sur les Feuilles," etc.
Ai,oo6 (Chielt).— The three works you mention are not woith
more than from £7, to £5. It is difficult to value then exactly,
as you give so lew particulars.
Goldsmith's "History of England," abridged,
10th edit., 1800.— A 1,993 (Regent's Park).— The value of
youi old History 1, only aboul 2s. Oil.
Book of Engravings.- A 1. 961 (Falkirk).— The old hook
ol engravings,, I Raphael initial decorations at the Vatic, n 1,
worth aboul £1.
Works of Peter Pindar, 3 vols., with Portrait,
1704.-A2.000 (Soulhfields).- \,„„ 1 k would not fetch
mole than 5s.
Coins.— James II. £ 5 =piece, 1688.— At, 211 (Liss).
ill "„ coins ,,[ this 1 ;sue w< re trucl ,1 London. Values
ran] e from ,£5 5s. lor a lair specimen to £6 for a very fine one.
William III. is. and 2s. 6d., 1O07.— A2,oo8 (Tober-
<•■>■ V«H William III. is. is worth about 2s„ and the other
silvei piece, which is evidently a half-crown, about 3s. 6d.
\ our old Bioiueisol comnion lorm : value al , out 7s 0,1
Engravings. — " Miss Peel," after Sir T.
Lawrence, by S. Cousins.— A 1,075 (Witney).— A first state
of this engraving, that is an impression before any inscription,
is worth about ^40. An impression without lettering, but
bearing the publisher's mark, is only a second state.
" Ipsa Conteret Caput Tuum," after P. P. Rubens,
by S. A. Bolswert.— Ai,977 (Sevenoaks).— This is a print
of very small value, but certain engravings by Pether and others
whose names you mention may be worth considerable sums.
Coloured Print after J. B. Cipriani, by F. Barto-
lozzi.— A1.222 (Bakewell). — Many prints by Bartolozzi, after
Cipriani, are of high value. We cannot recall this particular
i' ■ '■ , your description, but it is quite possibly worth £5.
Furniture.— Chairs to match Gate-legged
Table.— Al, 377 (Peterborough). — The style of chair to go with
a gate-legged table as shown in your illustration is Cromwellian.
Sheraton Commode.— A 1,989 (Petersfield).— From the
photograph we should describe your commode as Sheraton
rather than Hepplewhite, and formed probably of satinwood
and harewood. It appears to be a very gracelul specimen, and
should be worth about thirty guineas.
ObjetS d'A rt .— Glass Jug and Goblets.— Ai,98o
(West Southbourne). — The value of your glass goblets depends
largely upon the age, and it is really necessary to inspect them.
If genuine 17th century pieces, the jug is worth ,£4, and the
goblets, allowing for mendage, about £2 10s. each.
"Pottery and Porcelain. — Sevres.— At, 999
(Margate).— Your teapot is evidently not Sevres, and the fact
that it bears a Sevres mark suggests that it is comparatively
modern. It is probably, therefore, of small value.
Ironstone Jug.— A 1,962 (Cambridge).— Your jug may
have been made by Mason's, but several makers produced this
class of ware and used the mark " Ironstone." Mason's usual
mark for ironstone was the name Mason and a crown above.
This form of jug is quite common.
Staffordshire Group, " Vicar and Moses."— A 1,981
( Walthamstow) and Ai,973 (Kirby Moorside). — The originals
of this group are marked " K. Wood, Burslem," and a recent
auction price for one is £35 10s. Copies have been made at
various periods, including quite modern " fakes." A good early
specimen is worth .£10 to ^15.
Staffordshire Group. — At, qSi (Havering-atte-Bower).
—Your description suggests one of the tine productions of
\V 1 ,\ ( aldwell, ol Burslem, in the early part of last century.
II, as it appears to be, it is a rare group of this class, it is worth
£b to £*.
H The Connoisseiir
1
C75
v.Z5
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